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本文在非裔美国戏剧宣传传统的广泛背景下,重点呈现当代黑人剧作家奥古斯特·威尔逊的剧作如何在艺术上超越普通宣传剧,避免了极端主义、说教主义以及缺乏普遍性等宣传窠臼。在威尔逊的系列剧中,白人人物大都被设定为后台人物,其形象有别于宣传剧中经常出现的极端性的白人恶魔形象;此外,他以各种关于黑人历史的隐喻取代了种族宣传中常见的说教性言语;剧作家还致力于探索种族戏剧的普遍性主题,刻画出不同时代的黑人移民其个人梦想如何在北方城市中受挫并最终失落。由此,威尔逊极具个性的宣传艺术充分体现出他对非裔美国戏剧宣传传统的继承和推陈出新。
In the context of the African American theater publicity tradition, this article focuses on how the play by the contemporary black dramatist Auguste Wilson goes beyond the general publicity drama in art to avoid propaganda such as extremism, preacherism and lack of universality窠 mortar. In Wilson’s series, most of the white characters are set as backstage figures whose image is different from the extreme white devil often appearing in the publicity drama. In addition, he replaces the ethnic propaganda with various metaphors about black history The playwright is also devoted to exploring the universal theme of racial theater, portraying how his own personal dreams of black immigrants of different ages have been frustrated and eventually lost in northern cities. As a result, Wilson’s highly personalized publicity art fully demonstrated his inheritance and innovation of the African-American theater publicity tradition.