| 曹禺戏剧中悲剧意识的建构 |
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| 引用本文： | 陈由歆.曹禺戏剧中悲剧意识的建构[J].辽宁师范大学学报(社会科学版),2002,25(4):71-74. |
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| 作者姓名： | 陈由歆 |
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| 作者单位： | 沈阳工业学院院报编辑室,辽宁沈阳,110015 |
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| 摘 要： | 曹禺的剧作在很大程度上改变了中国古典戏剧贯有的“大团圆”的人为结局。他不满足于单纯地叙述悲剧情节和塑造悲剧性的人物形象，而是借鉴了西方美学思想和现代创作理念，以艺术的手法完成了对悲剧意识的建构。他设置了距离感来淡化悲剧发生的时间、空间，以加大悲剧的涵病因同，将现代主义表现手法和现实主义创作巧妙地结合，并把观众或读的情感与理智内在地融汇为一。
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| 关 键 词： | 曹禺戏剧 悲剧意识 心理距离 建构 |
| 文章编号： | 1000-1751(2002)04-0071-03 |
| 修稿时间： | 2001年8月20日 |
Construction of Tragic Consciousness in Cao Yu's Plays |
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| CHEN You,xin.Construction of Tragic Consciousness in Cao Yu''''s Plays[J].Journal of Liaoning Normal University(Social Science Edition),2002,25(4):71-74. |
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| Authors: | CHEN You xin |
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| Abstract: | Cao Yu's plays changed, to a larger extent, the image of classic Chinese plays characteristic of having a comedy ending. He went beyond simply narrating plot or creating tragic characters and artistically constructed tragic consciousness by making use of the western aesthetic thinking and modern creation notion. He created a sense of distance to achieve the effect of no time and space seeming to be involved. As a result, the coverage of the tragedy extended. He also perfectly combined modernism and realism, and unified the audience or readers' sense and rationality. |
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| Keywords: | tragic consciousness psychological distance |
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