用尤格伦·尤尼斯科来批判巴特和赞美贝克特

IF 0.2 4区 文学 0 LITERATURE PARAGRAPH Pub Date : 2022-07-01 DOI:10.3366/para.2022.0396
A. Ionescu
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引用次数: 1

摘要

这篇文章从舞台内外探索了戏剧世界,并通过第三个角色——罗马尼亚出生的剧作家尤格伦·约内斯科——将罗兰·巴特作为评论家和塞缪尔·贝克特作为剧作家联系在一起,他诅咒前者,钦佩后者。这篇文章从马丁·埃斯林的《荒诞剧场》(1961)开始,这本书定义了贝克特和尤内斯科的艺术,指出虽然埃斯林展示了为什么他们的作品在英国和美国产生了“困惑”,但他忽略了20世纪50年代到60年代初的巴黎辩论。然后,它涵盖了巴特关于前卫戏剧的争论性文章的复杂历史,并着重于巴特称赞贝托尔特·布莱希特是一个创新者,他重新定义了戏剧属于一个社区。下一部分将讨论贝克特和尤尼斯科对舞台的看法以及他们与布莱希特和布莱希特人的关系。结语提出了对尤内斯科讽刺剧《牧羊人的变色龙》(1955)的解读,其中以巴特和另外两位新小说批评的代表人物为特征。
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Anathematizing Barthes and Admiring Beckett with Eugène Ionesco
This article explores the world of theatre from within and beyond the stage and brings together Roland Barthes as a critic and Samuel Beckett as a playwright via a third character, the Romanian-born playwright Eugène Ionesco, who anathematized the former and admired the latter. The article starts from Martin Esslin’s The Theatre of the Absurd (1961), which defined Beckett’s and Ionesco’s art, pointing out that whilst Esslin showed why their works produced ‘bewilderment’ in England and the US, he ignored the Paris debates of the 1950s to early 1960s. It then covers the intricate history of Barthes’s polemical articles on avant-garde theatre and focuses on Barthes hailing Bertolt Brecht as an innovator who redefined theatre as belonging to a community. The next section engages with Beckett’s and Ionesco’s ideas on staging and their relation to Brecht and the Brechtians. The epilogue proposes a reading of Ionesco’s satirical play Improvisation or the Shepherd’s Chameleon (1955), which features Barthes and two other representatives of nouvelle critique as characters.
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来源期刊
PARAGRAPH
PARAGRAPH LITERATURE-
CiteScore
0.30
自引率
0.00%
发文量
22
期刊介绍: Founded in 1983, Paragraph is a leading journal in modern critical theory. It publishes essays and review articles in English which explore critical theory in general and its application to literature, other arts and society. Regular special issues by guest editors highlight important themes and figures in modern critical theory.
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