摘要
西方传统戏剧的语言是以表现功能和意动功能为主 ,而荒诞派戏剧家却突出纯粹的交际功能 ,写出了许多答非所问、平庸空洞或语无伦次的对白 ,但观众和读者却被这些“能指的过剩”深深打动了 ,这是因为他们能够使得我们“那种琢磨不定 ,未曾表达的 ,而且也是不可表达的感受能够突然表达出来”。[1] [p .77-82 ] 尽管如此 ,他们总觉得无论如何惨淡经营 ,有许多东西语言是无法表达的 ,故又提出用道具、动作、舞台形象来“延伸戏剧语言”。
The language of the traditional opera of the west is mainly expressive function and conative function, while dramatists of the absurd gives prominence to the pure communicative function, so that they write many dialogues of irrelevant answers, emptiness and incoherent speech. However, the audience and readers are deeply touched by these 'excessivenesses of signifiers', this is because they enable our 'feelings of unpredictable and unexpressed, yet unable to be expressed, to be expressed abruptly'. In spite of this, they always consider that however hard they try, there are still many things to unable to be expressed by language, so they think of using props, movements and stage images to 'extend opera language'.
出处
《云南师范大学学报（哲学社会科学版）》
2003年第6期58-61,共4页
Journal of Yunnan Normal University：Humanities and Social Sciences Edition
基金
甘肃省教育厅社会科学研究基金资助项目--"现代主义和后现代主义文学研究"系列论文之一
关键词
荒诞派戏剧
言语活动功能
能指的过剩
延伸戏剧语言
opera of the absurd
behavior function of speech
excessiveness of signifier
extending opera language
