解读“品特风格”—哈罗德·品特戏剧特色研究
发布时间：2021-02-12 12:04
2005年诺贝尔文学奖得主英国剧作家哈罗德·品特（1930—）被公认为20世纪下半叶英国最杰出的剧作家,已占据着现代经典作家的地位。到目前,他共创作包括《房间》、《生日晚会》、《看管人》、《送行酒》等在内的29部剧作,其作品风格独特、个性鲜明。诺贝尔文学奖颁奖词称其作品“揭示出隐藏在日常闲谈之下的危机,并强行打开了受压抑的封闭房间”,来自其姓氏的形容词“品特风格”已列入《牛津字典》,用来形容其别具一格的戏剧特色。品特的大部分剧作都具有荒诞性的特点,但又与荒诞派戏剧不同,而是建立在现实主义的基础上,从而实现了荒诞与现实的统一。通过将神秘感、威胁感与滑稽感的巧妙结合,品特的许多剧作既有恐吓威胁之感,又有浓厚的喜剧特色,往往达到了泪中有笑、笑中有泪的效果,被评论界称为“威胁喜剧”。品特的戏剧语言,主要运用停顿与静默、措词的对称、重叠、赘述、前后矛盾、不合逻辑、答非所问与胡言乱语等手段,使对白尽可能呈现自然的状态,就像是用录音机录下来的、人们每天都会说的日常用语。但语言已丧失了它本应有的功能,相反成了人物交流的障碍。由于其作品具有的诸多特点,使品特成为一位难以界定的剧作家,有评论家认为他属于荒...
【文章来源】：北京交通大学北京市 211工程院校 教育部直属院校
【文章页数】：87 页
【学位级别】：硕士
【文章目录】：
Acknowledgements
摘要
Abstract
1 Introduction
1.1 Pinter's Plays and "Pinteresque"
1.2 Literature Review Abroad and in China
2 The Formation of "Pinteresque"
2.1 The Jewish Tailor Father and the Growth of Little Pinter
2.2 Pinter and His Predecessors
2.2.1 Samuel Beckett and Pinter
2.2.2 Franz Kafka, Pinter and Others
2.3 Son Beyond His Fathers
3 General Characteristics of "Pinteresque"
3.1 A Combination of Absurdity and Reality
3.1.1 Absurdity Features
3.1.1.1 Anti-hero
3.1.1.2 Anti-suspension
3.1.1.3 Anti-identification
3.1.2 Realistic Features
3.1.2.1 The Realistic Setting on Stage
3.1.2.2 The Existential Fears
3.1.2.3 Social and Political Concerns
3.1.3 Absurdity in Reality
3.1.3.1 The Absurdity of the Human Condition
3.1.3.2 The Alienation of the Human Relationship
3.2 The Comedy of Menace
3.2.1 Comedy
3.2.2 Menace
3.3 The Theatre of Language
3.3.1 Daily Language
3.3.2 Pause and Silence
3.3.3 Summary
4 "Pinteresque" on Different Phases
4.1 The Early Phase
4.1.1 The Room
4.1.2 The Birthday Party
4.2 The Middle Phase
4.3 The Late and Recent Phase
4.4 Summary
5 The Significance of "Pinteresque"
5.1 Significance of "Pinteresque" on Contemporary Literature
5.1.1 Pinter's Achievement—Form and Innovation
5.1.2 Pinter's Followers and Black Comedy
5.2 Social Significance of "Pinteresque"
6 Conclusion
References
作者简历
学位论文数据集
本文编号：3030838
【文章来源】：北京交通大学北京市 211工程院校 教育部直属院校
【文章页数】：87 页
【学位级别】：硕士
【文章目录】：
Acknowledgements
摘要
Abstract
1 Introduction
1.1 Pinter's Plays and "Pinteresque"
1.2 Literature Review Abroad and in China
2 The Formation of "Pinteresque"
2.1 The Jewish Tailor Father and the Growth of Little Pinter
2.2 Pinter and His Predecessors
2.2.1 Samuel Beckett and Pinter
2.2.2 Franz Kafka, Pinter and Others
2.3 Son Beyond His Fathers
3 General Characteristics of "Pinteresque"
3.1 A Combination of Absurdity and Reality
3.1.1 Absurdity Features
3.1.1.1 Anti-hero
3.1.1.2 Anti-suspension
3.1.1.3 Anti-identification
3.1.2 Realistic Features
3.1.2.1 The Realistic Setting on Stage
3.1.2.2 The Existential Fears
3.1.2.3 Social and Political Concerns
3.1.3 Absurdity in Reality
3.1.3.1 The Absurdity of the Human Condition
3.1.3.2 The Alienation of the Human Relationship
3.2 The Comedy of Menace
3.2.1 Comedy
3.2.2 Menace
3.3 The Theatre of Language
3.3.1 Daily Language
3.3.2 Pause and Silence
3.3.3 Summary
4 "Pinteresque" on Different Phases
4.1 The Early Phase
4.1.1 The Room
4.1.2 The Birthday Party
4.2 The Middle Phase
4.3 The Late and Recent Phase
4.4 Summary
5 The Significance of "Pinteresque"
5.1 Significance of "Pinteresque" on Contemporary Literature
5.1.1 Pinter's Achievement—Form and Innovation
5.1.2 Pinter's Followers and Black Comedy
5.2 Social Significance of "Pinteresque"
6 Conclusion
References
作者简历
学位论文数据集
本文编号：3030838
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