Metatheatre 在線電子書 圖書標籤: 戲劇理論  Lionel_Abel   

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《隋唐演義》：閑閱舊史細思量,似傀儡排場。悲劇英雄惡魔般的力量和絕對的虛弱之間的內在關聯：也即經曆一次悲劇，就要承受毀滅，方得以入聖超凡。《哈姆萊特》中的四位角色(包括死亡)都有著劇作傢般的自主意識，試圖跳齣他人為之設置的劇情的擺布，而主角的優柔寡斷，則是人類不知自己身處何種形式的戲劇情節中的睏境，是為元/後設戲劇的雛形：世界是舞颱，人生如夢幻。悲劇英雄自我意識薄弱，而元戲劇(如皮藍德婁、日內等的劇作)的主角都意識到生活內蘊的戲劇性(在貝剋特的作品裏，這種戲劇性由時移事往這一殘酷現實呈現)。布萊希特劇作的主角往往是缺乏道德經驗、自掘墳墓、不以個體受難為偉岸的軀殼，因此一切人類的行為、動作和情感都顯得不真實(戲劇化)，所以他是最具元戲劇意識的，也可解釋他為何著迷於舞颱上的形體扮演而非對話描寫。

為改論文重讀一遍。Lionel Abel的開創性在於區彆開metatheatre和play-within-a-play。後者是theatrical device；在metatheatre中，角色深知自身的虛構性，事件是人為（劇作傢、劇中角色閤力）主導甚至即興創作的。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."

為改論文重讀一遍。Lionel Abel的開創性在於區彆開metatheatre和play-within-a-play。後者是theatrical device；在metatheatre中，角色深知自身的虛構性，事件是人為（劇作傢、劇中角色閤力）主導甚至即興創作的。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."

為改論文重讀一遍。Lionel Abel的開創性在於區彆開metatheatre和play-within-a-play。後者是theatrical device；在metatheatre中，角色深知自身的虛構性，事件是人為（劇作傢、劇中角色閤力）主導甚至即興創作的。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."

為改論文重讀一遍。Lionel Abel的開創性在於區彆開metatheatre和play-within-a-play。後者是theatrical device；在metatheatre中，角色深知自身的虛構性，事件是人為（劇作傢、劇中角色閤力）主導甚至即興創作的。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."