Metatheatre 在线电子书 图书标签: 戏剧理论  Lionel_Abel   

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为改论文重读一遍。Lionel Abel的开创性在于区别开metatheatre和play-within-a-play。后者是theatrical device；在metatheatre中，角色深知自身的虚构性，事件是人为（剧作家、剧中角色合力）主导甚至即兴创作的。Metatheatre forces us to wonder. "The playwright who ventures to touch us very deeply ought to know that he is touching a part of us which is irrelevant to the achievement of our most rational goals."

《隋唐演义》：闲阅旧史细思量,似傀儡排场。悲剧英雄恶魔般的力量和绝对的虚弱之间的内在关联：也即经历一次悲剧，就要承受毁灭，方得以入圣超凡。《哈姆莱特》中的四位角色(包括死亡)都有着剧作家般的自主意识，试图跳出他人为之设置的剧情的摆布，而主角的优柔寡断，则是人类不知自己身处何种形式的戏剧情节中的困境，是为元/后设戏剧的雏形：世界是舞台，人生如梦幻。悲剧英雄自我意识薄弱，而元戏剧(如皮蓝德娄、日内等的剧作)的主角都意识到生活内蕴的戏剧性(在贝克特的作品里，这种戏剧性由时移事往这一残酷现实呈现)。布莱希特剧作的主角往往是缺乏道德经验、自掘坟墓、不以个体受难为伟岸的躯壳，因此一切人类的行为、动作和情感都显得不真实(戏剧化)，所以他是最具元戏剧意识的，也可解释他为何着迷于舞台上的形体扮演而非对话描写。

为改论文重读一遍。Lionel Abel的开创性在于区别开metatheatre和play-within-a-play。后者是theatrical device；在metatheatre中，角色深知自身的虚构性，事件是人为（剧作家、剧中角色合力）主导甚至即兴创作的。Metatheatre forces us to wonder. "The playwright who ventures to touch us very deeply ought to know that he is touching a part of us which is irrelevant to the achievement of our most rational goals."

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)

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)