摘要
曹禺的戏剧作品《原野》包含大量听觉叙事的表达,主要表现为多种听的行为、由人物对话连缀而成的声音事件、饱含内蕴的声音景观等,它们共同渗透进作者的艺术构想中。《原野》里主要有偷听和幻听两种听觉类型,偷听行为的发生可令读者更清晰地认识到人物的心理和地位处境;文本中的幻听多产生于人物因精神紊乱而引发的主观臆想,但其对于纾解人物自身的心理痛苦反而有一定作用。剧作中以火车声和镣铐声为主的声音景观,具有象征意义,品析由它们搭建起的听觉空间,利于读者把握人物心理走向,体会剧作者的创作思想。《原野》中的听觉叙事构成了推进文本空间演进的动力,也参与到对人物的创构中,且有效弥补了视听感知之间的差距。
Cao Yu's play The Field contains a great deal of auditory narration,which is mainly manifested in various types of hearing,sound events connected by characters'dialogues,sound landscapes,that permeate the author's artistic conception together.Eavesdropping and auditory hallucination are two kinds of hearing in The Field.The occurrence of eavesdropping can help the readers understand the characters'psychology and status more clearly.The auditory hallucinations in the text are mostly produced by the subjective concoction caused by the characters'mental disorder,but they play a certain role in relieving the characters'own psychological pains.The sound landscapes in the play mainly consists of the sound of trains and shackles,is of symbolic significance.It is beneficial for readers to grasp the psychological trend of the characters and realize the author's creative thoughts.The audio narration in The Field is the driving force to advance the evolution of text space,that also participates in the creation of characters,and effectively makes up the gap between audio-visual perception.
作者
李雪莹
李仲凡
LI Xueying;LI Zhongfan(School of Chinese Language,Literature and History,Shaanxi University of Technology,Hanzhong 723000,Shaanxi)
出处
《陕西理工大学学报（社会科学版）》
2023年第4期52-60,86,共10页
Journal of Shaanxi University of Technology(Social Science)
基金
中国高等教育学会2022年度重大课题(22JS0104)
陕西省教育规划重点项目(SGH22Z014)。
