| 荒诞主义者贝克特的现代主义“问题剧” |
| Alternative Title | The Beckettian Problem Play: An Absurdist's Concerns in the Modernist Era
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| 杜亚尊 |
| Thesis Advisor | 袁洪庚
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| 2016-06-11
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| Degree Grantor | 兰州大学
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| Place of Conferral | 兰州
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| Degree Name | 硕士
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| Keyword | 塞缪尔·贝克特
问题剧
现代戏剧
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| Abstract | 荒诞剧大师塞缪尔·贝克特享誉文坛，但评论界对他于现代戏剧的诸多贡献尚未足够重视，对他以隐性方式关照的社会问题更是有所忽略。贝克特大胆探索并拓展戏剧表现方法，在戏剧内容与形式方面均呈现出鲜明的现代主义特色。他探求荒诞世界及虚无人生的根源，揭示出对人类存在及其意义的真切关注和深度拷问。贝克特在其剧作，如《等待戈多》、《终局》、《克拉普的最后一盘录音带》、《快乐的日子》等中，表达他对人性及世界的存在论思考，是现实主义问题剧在现代主义语境下的创新性艺术表现，对现代戏剧发展做出非凡贡献。 |
| Other Abstract | Samuel Beckett is widely recognized as one of the key figures who founded and cultivated “Theatre of the Absurd,” a style of theatre evolved from works by avant-garde European playwrights in the late 1950s. However, extant studies on Beckett’s contributions to the modernist drama, particularly his covert concerns for social problems remain superficial and inadequate.The present author argues that Beckettian plays, while embodying distinguished modernistic features in dramatic content and form, probe into roots of ominous evils that further degrade the pathetic human condition.Conducive to the flourishing of modern drama, some Beckettian plays, Waiting for Godot, Endgame, Krapp’s Last Tape, and Happy Days, and so on, placidly and apprehensively scrutinize ontological issues of human existence. In fact, they are logical extensions of the Ibsenite problem plays in the age of modernism. |
| URL | 查看原文
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| Language | 中文
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| Document Type | 学位论文
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| Identifier | https://ir.lzu.edu.cn/handle/262010/227194
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| Collection | 外国语学院
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Recommended Citation
GB/T 7714 |
杜亚尊. 荒诞主义者贝克特的现代主义“问题剧”[D]. 兰州. 兰州大学,2016.
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