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Diderot, Ibsen, and the Drame Lyrique in Scandinavia
Ibsen Studies Pub Date : 2020-01-02 , DOI: 10.1080/15021866.2020.1757301
Martin Wåhlberg

Diderot devised what he himself perceived as a completely new kind of contemporary theater. This part of his output has been somewhat overshadowed by his more general contributions to the French Enlightenment. A huge interest in his Encyclop edie and in his highly experimental narrative prose developed in the 1950s and 1960s, alongside the rise of le nouveau roman (Fellows 1970, 96). Meanwhile, to this day, his crucial texts on theater remain largely inaccessible to modern readers unfamiliar with the French language. His plays are rarely put on by theaters, in contrast to his philosophical texts, which, paradoxically, are regularly staged (Frantz 2004, 36). His innovative drama and theater theory should, however, be of particular interest to the study of Ibsen’s contemporary plays, with which they resonate in arresting ways. A whole range of similarities will strike anyone who compares Ibsen’s contemporary plays with Diderot’s drama and writings on theater from the 1750s. The question of Ibsen’s turn towards a new form of contemporary drama at a rather late stage in his career has puzzled critics since his own lifetime. A common opinion is summed up by a student writing in the year after his death: ‘Ibsen is French Technic plus Northern Genius’ (Robbins 1907, 4). These two elements, the method of the well-made play as practiced by Scribe and his school, and a somewhat mysterious northern component, are echoed in scholarship throughout the twentieth century. In his seminal study Ibsen’s Dramatic Technique, P. D. F. Tennant

中文翻译:

狄德罗、易卜生和斯堪的纳维亚的戏剧抒情诗

狄德罗设计了他自己认为的一种全新的当代戏剧。他对法国启蒙运动的更广泛的贡献使他的这部分作品有些黯然失色。对他的百科全书和他在 1950 年代和 1960 年代发展起来的高度实验性的叙事散文产生了巨大的兴趣,同时也伴随着新罗马的兴起(Fellows 1970, 96)。与此同时,直到今天,不熟悉法语的现代读者在很大程度上仍然无法阅读他关于戏剧的重要文本。与他的哲学文本相反,他的戏剧很少在剧院上演,自相矛盾的是,这些文本经常上演(Frantz 2004, 36)。然而,他的创新戏剧和戏剧理论应该对易卜生当代戏剧的研究特别感兴趣,它们以引人入胜的方式产生共鸣。任何将易卜生的当代戏剧与狄德罗的戏剧和 1750 年代的戏剧著作进行比较的人,都会有一系列的相似之处。易卜生在他职业生涯的后期转向一种新的当代戏剧形式的问题自他有生以来一直困扰着评论家。一个学生在他死后的第二年写下一个共同的观点:“易卜生是法国技术加北方天才”(Robbins 1907, 4)。这两个元素,即 Scribe 和他的学校所实践的精心制作的戏剧方法,以及有点神秘的北方成分,在整个 20 世纪的学术界都得到了回应。在他开创性的研究易卜生的戏剧技巧中,PDF Tennant 易卜生在他职业生涯的后期转向一种新的当代戏剧形式的问题自他有生以来一直困扰着评论家。一个学生在他死后的第二年写下一个共同的观点:“易卜生是法国技术加北方天才”(Robbins 1907, 4)。这两个元素,即 Scribe 和他的学校所实践的精心制作的戏剧方法,以及有点神秘的北方成分,在整个 20 世纪的学术界都得到了回应。在他开创性的研究易卜生的戏剧技巧中,PDF Tennant 易卜生在他职业生涯的后期阶段转向一种新的当代戏剧形式的问题自他有生以来一直困扰着评论家。一个学生在他死后的第二年写下一个共同的观点:“易卜生是法国技术加北方天才”(Robbins 1907, 4)。这两个元素,即 Scribe 和他的学校所实践的精心制作的戏剧方法,以及有点神秘的北方成分,在整个 20 世纪的学术界都得到了回应。在他开创性的研究易卜生的戏剧技巧中,PDF Tennant Scribe 和他的学校所实践的精心制作的戏剧方法,以及一个有点神秘的北方成分,在整个 20 世纪的学术界得到了回应。在他开创性的研究易卜生的戏剧技巧中,PDF Tennant Scribe 和他的学校所实践的精心制作的戏剧方法,以及一个有点神秘的北方成分,在整个 20 世纪的学术界得到了回应。在他开创性的研究易卜生的戏剧技巧中,PDF Tennant
更新日期:2020-01-02
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