期刊论文

Rhee, Young Suck

英文

外国文学研究

1003-7519

2016

38

2

46-54

10.19915/j.cnki.fls.2016.02.006

:该论文为韩国国家研究基金资助项目“叶芝:东方和西方”[项目批号: :NRF-2014S1A2A2028665]和汉阳大学资助课题[项目批号: :HY-2013-N]的阶段性成果,中国华中师范大学罗良功教授、韩国汉阳大学副教授尹诚浩副教授、国立济州大学李普罗助理教授参与了本文的部分研究 :撰写工作 (NRF-2014S1A2A2028665). and also supported by the research fund of Hanyang University (HY-2013-N):This work was supported by the National Research Foundation of Korea Grant funded by the Korean Government

本校为其他机构

The Noh theatre, as Yeats understood it, does not imitate human beings; it imitates signs. The dramatis personae are not rounded, credible characters and their sensibilities do not deepen. They are masks, ideograms carved in wood and outfitted with arms and legs. The Noh is a sort of treatise on religion carried out by ambulatory pictograms, pointing to truths beyond our world. In the Noh, there is rarely anything that could be called a story; the action, which is minimal, is usually accomplished during, and by means of, the climactic dance. Th...

叶芝对日本能剧有其独到的见解。在他看来,能剧不是对人类的模仿,而是对符号的模仿;剧中人物不是圆形的、可靠的,他们的识别力不会加深,他们不过是面具、是木头雕刻出来的装上了四肢的意符;能剧是借助于游走的石壁画实现对宗教的服侍,指向现实世界之外的真理。在能剧中,鲜有材料堪称故事,已然简约至极的动作常常伴随也借助于高潮性的舞蹈,因而戏剧动作旨在引向启示,因而能剧中的动作没有时间的纵深,只是认知的瞬间、变形的刹那,被艺术性地延长了。基于上述观点,本文以《骸骨之梦》、《艾玛的唯一妒忌》、《库胡林之死》等剧作为例,对叶芝的能剧进行了解读。