摘要
在20世纪五六十年代的德语剧坛中,瑞士剧作家马克斯·弗里施(Max Frisch)的作品《中国长城》以其对人类存在荒诞性的深刻探讨而备受瞩目。该戏剧不仅在主题上展现了荒诞性,其结构和语言同样彰显了荒诞派戏剧的特点。尽管如此,对《中国长城》荒诞性主题的研究却相对匮乏。本研究采用加缪的荒诞哲学和艾斯林的荒诞派戏剧理论,深入分析了《中国长城》中的荒诞派戏剧元素。研究从荒诞派戏剧的起源和特征入手,揭示了弗里施如何通过其作品探讨人类存在的荒诞,以及这种探讨如何反映在戏剧的结构和语言表达上。通过这样的分析,本研究旨在为理解弗里施戏剧中荒诞性主题提供新的视角,丰富现有学术讨论的内容。
In the German theater of the 1950s and 1960s,Swiss playwright Max Frisch’s work“The Chinese Wall”was notable for its profound exploration of the absurdity of human existence.The play not only presents absurdity in its themes but also reflects the characteristics of absurdist drama in its structure and language.Nevertheless,research on the theme of absurdity in“The Chinese Wall”is relatively scarce.This study employs Camus’s philosophy of the absurd and Esslin’s theory of absurdist theater to analyze the elements of absurdist theater in“The Chinese Wall”.The research commences with the origins and characteristics of absurdist drama,revealing how Frisch explores the absurdity of human existence through his work and how this exploration is reflected in the structure and language of the play.Through this analysis,the study aims to provide new perspectives for understanding the theme of absurdity in Frisch’s drama and enrich the existing academic discourse.
作者
周婷
ZHOU Ting(Guangzhou College of Commerce)
出处
《语言文学翻译》
2024年第1期75-79,共5页
Language Literature Translation
