圖書標籤: 戲劇理論  Lionel_Abel   

喜歡 Metatheatre 的讀者還喜歡

《隋唐演義》：閑閱舊史細思量,似傀儡排場。悲劇英雄惡魔般的力量和絕對的虛弱之間的內在關聯：也即經曆一次悲劇，就要承受毀滅，方得以入聖超凡。《哈姆萊特》中的四位角色(包括死亡)都有著劇作傢般的自主意識，試圖跳齣他人為之設置的劇情的擺布，而主角的優柔寡斷，則是人類不知自己身處何種形式的戲劇情節中的睏境，是為元/後設戲劇的雛形：世界是舞颱，人生如夢幻。悲劇英雄自我意識薄弱，而元戲劇(如皮藍德婁、日內等的劇作)的主角都意識到生活內蘊的戲劇性(在貝剋特的作品裏，這種戲劇性由時移事往這一殘酷現實呈現)。布萊希特劇作的主角往往是缺乏道德經驗、自掘墳墓、不以個體受難為偉岸的軀殼，因此一切人類的行為、動作和情感都顯得不真實(戲劇化)，所以他是最具元戲劇意識的，也可解釋他為何著迷於舞颱上的形體扮演而非對話描寫。

Metaplay: 1. Characters who have self-consciousness participate in their own dramatisation (the world is a stage) Hamlet has playwright consciousness 2. Fantasy is essential, it is the heart of reality (life is a dream)

ground-breaking work. 本書作於60年代，作者第一次提齣metatheatre概念，並以《哈姆雷特》作為範例解讀。Such plays have truth in them, not because they convince us of real occurrences or existing persons, but because they show the reality of dramatic imagination. All of them are theater pieces about life seen as already theatricalized .

ground-breaking work. 本書作於60年代，作者第一次提齣metatheatre概念，並以《哈姆雷特》作為範例解讀。Such plays have truth in them, not because they convince us of real occurrences or existing persons, but because they show the reality of dramatic imagination. All of them are theater pieces about life seen as already theatricalized .

ground-breaking work. 本書作於60年代，作者第一次提齣metatheatre概念，並以《哈姆雷特》作為範例解讀。Such plays have truth in them, not because they convince us of real occurrences or existing persons, but because they show the reality of dramatic imagination. All of them are theater pieces about life seen as already theatricalized .