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本文沿着时间的延序,一一梳理了谭霈生先生理论思想的脉络,只是为着能够深入到思想生成的内在的历史中去,也就是揭示谭霈生先生戏剧理论思想的“内生性”轨迹。本文着重从谭霈生的几部著作阐述其理论思想。作者通过“关于戏剧动作”“戏剧冲突”“戏剧情境”“戏剧悬念”以及戏剧的整体性、统一性论述谭霈生关于戏剧艺术的独立自主性的观点。又简要回顾谭霈生先生在80年代关于“形式革新”“戏剧观大讨论”戏剧观讨论中,形成自己的戏剧“情境”观。在《论戏剧性》一书中,情境是戏剧“一个重要的基本因素”;从《论戏剧性》到《戏剧本体论》谭霈生先生对情境结构逻辑模式做了新的精彩的确认:情境乃是人格的规定形式和实现形式。本体意义的“形式——结构”戏剧理论完整地建立起来。无疑,谭霈生先生的戏剧理论思想对今后我国的戏剧理论建设和戏剧艺术创作(剧本及导表演)都有着重大的方向性的意义。
In the light of the time sequence, this article combs the sequence of the theory thought of Tan Tansheng only for the inner history that can go deep into the thought generation, that is to reveal the “endogenesis” trajectory of Tan Tansheng’s dramatic theory . This article focuses on several of his works Tan Tan explained its theoretical thinking. The author expounds Tan’s views on the independence and autonomy of theatrical arts through the unity and unity of the theatrical movements, dramatic conflicts, drama situations and dramatic suspense. In the meantime, I briefly review Mr. Tan Yansheng’s own view of drama and “situation” in the discussions on the dramatic aspects of “formal reform ” “dramatic view ” in the 1980s. In “The Theatricality”, the context is drama “An Important Fundamental Factor”; from “The theatricality” to “Theatrical Ontology”, Mr. Tan Junsheng made a new wonderful confirmation of the logical structure of the contextual structure: Is the personality of the provisions of the form and form of realization. Ontological meaning of “form - structure” drama theory completely established. Undoubtedly, Tan Tansheng’s theory of drama theory has significant directional significance to the future construction of drama theory and dramatic art creation (script and director performance) in our country.