【作者】 贾丹晨；

【导师】 宋宝珍；

【作者基本信息】 中国艺术研究院 ， 戏剧戏曲学， 2008， 硕士

【摘要】 上世纪30年代,法国人安托南·阿尔托提出了著名的“残酷戏剧”理论,这一系列在其生前没有亲自实现的戏剧设想,在其死后逐渐传播到全世界,其影响自上世纪60年代起延续至今。在中国,几乎在阿尔托提出“残酷戏剧”理论的同时,年轻的剧作家曹禺在论述自己的处女作《雷雨》时反复强调作品表现的是宇宙或天地间的“残忍”和“冷酷”。两位戏剧家所提出的“残酷”,在于其美学趋向上相近的追求。半个世纪之后,这一美学追求在中国当代剧场,以迥异于传统的戏剧特征,出现在话剧舞台的艺术呈现之中,它们表现出情境极端,主题严酷,舞美质朴,感官刺激强烈等特点,成为近年来中国剧坛一道独特的风景。究其成因,一方面源于西方现代哲学、艺术思潮的影响;一方面又与我国的历史、现状,及参与创作的戏剧工作者的个人经历和选择密不可分。同时,这些作品又对我国话剧的发展产生了重大的影响。更多还原

【Abstract】 In the 30s of last century, the Frenchman Antonin Artaud came up with the famous theory of "the Theatre of Cruelty". This series of drama assumption was realized after he passed away and spread to the whole world and the influence of it started from the 60s of last century till today. In China, almost at the same time as Antonin Artaud, the young dramatist Cao Yu emphasized time after time that the purpose of dramas is to show the "cruelty" and "steeliness" in the universe when addressing his maiden work Thunderstorm. The "cruelty" the two famous dramatists mentioned was familiar in the similar pursue of aesthetics trend. Half a century later, in the Chinese contemporary theatre, this aesthetics pursue present itself in the art show of drama stage with the dramatic characteristics far different from the traditional ones. They showed the traits of extreme situations, cruel themes, strong sense stimulations and so on. The cause of it, in one aspect rooted from the influence of western modern philosophy. In another, it was closely related to the history and statue in quo of our country as well as the personal experiences of the dramatic workers who was involved in the production of the dramas. Meanwhile, these dramatic works gave great influence on the development of the drama of our country.更多还原