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作为西方戏剧理论话语体系里的重要概念,“正剧”在中国当代戏剧理论界向来是语义不清的模糊存在。作为严肃剧理论的创始者,狄德罗被视为正剧理论的开山鼻祖。甚至,严肃剧理论被等同于正剧理论本身。如果说狄德罗的严肃剧理论以其划时代的理想戏剧图景成就了一套崭新的戏剧理论原则,他的严肃剧创作实践却令人惋惜地宣告了失败。然而,理论与实践的强烈反差并没有使新剧种归于消逝,它被继承、发展、超越,衍化成了当代戏剧创作的普遍形态:正剧。实际上,在法国戏剧学界,谈狄德罗必谈博马舍。作为第三个剧种正剧的正式命名者,博马舍凭借开创性的戏剧理念与成功的戏剧实践,对正剧文体的确立及发展做出了关键性的理论贡献。
As an important concept in the theoretical discourse system of western drama, “drama ” has always been a vague semantic ambiguity in the contemporary Chinese theater theorists. As the founder of serious drama theory, Diderot is regarded as the originator of the drama theory. Even serious drama theory is equated with drama theory itself. If Diderot’s serious drama theory with its epoch-breaking ideal drama scene achieved a new set of theory of dramatic theory, his serious drama practice but unfortunately declared failure. However, the strong contrast between theory and practice did not attribute the disappearance of new operas. It was inherited, developed and surpassed and became the common form of contemporary drama creation: the drama. In fact, in the field of French drama, Diderot is talking about Beaumarchais. As the official naming of the third operas, Bomashe made a crucial theoretical contribution to the establishment and development of the drama style by virtue of the pioneering concept of drama and successful drama practice.