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荒诞派戏剧首先出现在法国而后传至欧美其他国家,50、60年代盛极一时。本文从接受美学的视角探讨了荒诞派戏剧的接受。接受美学强调接受者的主体性,突出读者或观众的地位,提出文本动态的本质。荒诞派戏剧从内容到形式的荒诞,致使其出现之初接受的困难性。对接受主体即读者或观众的审美接受的分析揭示了荒诞派戏剧的合理性以及对荒诞派戏剧接受的必然性。
Absurd drama first appeared in France and later spread to other countries in Europe and the United States, 50, 60’s thriving. This article discusses the acceptance of the absurdist drama from the perspective of aesthetic acceptance. Accepting the subject emphasizes the subjectivity of the recipient of aesthetics, highlighting the status of the reader or the audience, put forward the dynamic nature of the text. The absurdity of the absurd theater from content to form led to the difficulty of acceptance at the beginning of its appearance. An analysis of the aesthetic acceptance of the receiving subject, ie, the reader or viewer, reveals the plausibility of the absurdist drama and the inevitability of acceptance of the absurd theatrical.