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戏剧的基础是行动,任何一部戏剧都要有行动与促使其行动的动机,而一部经典戏剧,必须要有强有力的行动与符合充足必然律的内在动机。国产音乐剧《蝶》的上演赢得了观众一片好评,在舞美、表演、舞蹈和唱段诸多方面取得了突破性的进步。然而剧中的主人公上场任务不明确,既无特定追寻的目标人物或目标任务,也无特定要清楚或弑杀的障碍或恶魔。结构主义学者格雷玛斯在其行动素模式理论中要求行动主体具备明确的行动与行动宾体。行动之深层根基在于人物有无可能性,在于人物面临两难抉择时的选择。人物面临没有选择的境遇时便缺失了行动的能力。内心动机的匮乏和选择的缺失注定了主人公是一个行动乏力的人物。从而成为全剧的阿基琉斯之踵。
The basis of drama is action, and any one drama must have the motivation to act and motivate it. A classical drama must have strong actions and intrinsic motives in line with a sufficient law of necessity. The domestic musical “Butterfly” staged won the audience a good reputation, in the stage, performance, dance and singing a lot of aspects made a breakthrough. However, the protagonist plays the task is not clear, there is no specific pursuit of the target person or target tasks, there is no specific to be clear or slaughter obstacles or demons. Structuralist scholar Geleimaisi in his theory of action prime mode requires the main actors have a clear body of action and action. The underlying cause of action lies in the possibility of the character lies in the choice of the person in the face of dilemmas. People face the lack of choice when they lack the ability to act. The lack of inner motivation and lack of choice doomed the hero to be a weak person. Thus becoming the play’s Achilles heel.