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發表於2024-11-19

The Poetics of Difference and Displacement 2024 pdf epub mobi 電子書 下載

The Poetics of Difference and Displacement 2024 pdf epub mobi 電子書 下載

The Poetics of Difference and Displacement 2024 pdf epub mobi 電子書 下載

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This book studies what it terms “displacement” in “intercultural theater” based on the mutual interaction between Western and traditional Chinese theaters. On the one side there are Craig, Meyerhold, Brecht, Brook, Barba, and Sellars, and on other Mei, ...

This book studies what it terms “displacement” in “intercultural theater” based on the mutual interaction between Western and traditional Chinese theaters. On the one side there are Craig, Meyerhold, Brecht, Brook, Barba, and Sellars, and on other Mei, ...

This book studies what it terms “displacement” in “intercultural theater” based on the mutual interaction between Western and traditional Chinese theaters. On the one side there are Craig, Meyerhold, Brecht, Brook, Barba, and Sellars, and on other Mei, ...

This book studies what it terms “displacement” in “intercultural theater” based on the mutual interaction between Western and traditional Chinese theaters. On the one side there are Craig, Meyerhold, Brecht, Brook, Barba, and Sellars, and on other Mei, ...

This book studies what it terms “displacement” in “intercultural theater” based on the mutual interaction between Western and traditional Chinese theaters. On the one side there are Craig, Meyerhold, Brecht, Brook, Barba, and Sellars, and on other Mei, ...

以一個世紀中西劇場間的跨文化置換為主軸，無論是新古典主義的伏爾泰等，還是早期歐洲先鋒派如萊茵哈特，直至布萊希特的史詩劇/間離效果、梅耶荷德的程式化劇場/醜怪美學、戈登·剋雷的傀儡劇場、尤金諾·芭芭的歐亞劇場/前置錶達以及彼得·塞勒斯對樣闆戲、昆麯的戲仿與改編，無不具有歐洲中心、將中國戲劇內蘊的圓融和諧、設身處地/現身說法式的錶演置換為碎片、裂罅、充滿張力、程式化、陌生化的美學來為他們反幻覺/現實主義劇場的先鋒運動服務；中國早期戲劇人假易蔔生式的戲劇營構、現實主義的引入來批判古典戲麯，此後的國劇運動、左翼戲劇大眾化、戲麯與斯坦尼體係的結閤、當代先鋒派之迴歸傳統乃至將古希臘悲劇、莎劇戲麯化的實踐，則是他們反嚮置換前述的布、梅等人的戲劇理念，從而達到各自的意識形態/政治宣傳、美學創新和反撥的目的。

嗬嗬吼半年前看的又記不大清瞭...果斷又藉瞭一遍...

嗬嗬吼半年前看的又記不大清瞭...果斷又藉瞭一遍...

嗬嗬吼半年前看的又記不大清瞭...果斷又藉瞭一遍...

以一個世紀中西劇場間的跨文化置換為主軸，無論是新古典主義的伏爾泰等，還是早期歐洲先鋒派如萊茵哈特，直至布萊希特的史詩劇/間離效果、梅耶荷德的程式化劇場/醜怪美學、戈登·剋雷的傀儡劇場、尤金諾·芭芭的歐亞劇場/前置錶達以及彼得·塞勒斯對樣闆戲、昆麯的戲仿與改編，無不具有歐洲中心、將中國戲劇內蘊的圓融和諧、設身處地/現身說法式的錶演置換為碎片、裂罅、充滿張力、程式化、陌生化的美學來為他們反幻覺/現實主義劇場的先鋒運動服務；中國早期戲劇人假易蔔生式的戲劇營構、現實主義的引入來批判古典戲麯，此後的國劇運動、左翼戲劇大眾化、戲麯與斯坦尼體係的結閤、當代先鋒派之迴歸傳統乃至將古希臘悲劇、莎劇戲麯化的實踐，則是他們反嚮置換前述的布、梅等人的戲劇理念，從而達到各自的意識形態/政治宣傳、美學創新和反撥的目的。