图书标签: 戏剧理论  Lionel_Abel   

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《隋唐演义》：闲阅旧史细思量,似傀儡排场。悲剧英雄恶魔般的力量和绝对的虚弱之间的内在关联：也即经历一次悲剧，就要承受毁灭，方得以入圣超凡。《哈姆莱特》中的四位角色(包括死亡)都有着剧作家般的自主意识，试图跳出他人为之设置的剧情的摆布，而主角的优柔寡断，则是人类不知自己身处何种形式的戏剧情节中的困境，是为元/后设戏剧的雏形：世界是舞台，人生如梦幻。悲剧英雄自我意识薄弱，而元戏剧(如皮蓝德娄、日内等的剧作)的主角都意识到生活内蕴的戏剧性(在贝克特的作品里，这种戏剧性由时移事往这一残酷现实呈现)。布莱希特剧作的主角往往是缺乏道德经验、自掘坟墓、不以个体受难为伟岸的躯壳，因此一切人类的行为、动作和情感都显得不真实(戏剧化)，所以他是最具元戏剧意识的，也可解释他为何着迷于舞台上的形体扮演而非对话描写。

为改论文重读一遍。Lionel Abel的开创性在于区别开metatheatre和play-within-a-play。后者是theatrical device；在metatheatre中，角色深知自身的虚构性，事件是人为（剧作家、剧中角色合力）主导甚至即兴创作的。Metatheatre forces us to wonder. "The playwright who ventures to touch us very deeply ought to know that he is touching a part of us which is irrelevant to the achievement of our most rational goals."

Metaplay: 1. Characters who have self-consciousness participate in their own dramatisation (the world is a stage) Hamlet has playwright consciousness 2. Fantasy is essential, it is the heart of reality (life is a dream)

ground-breaking work. 本书作于60年代，作者第一次提出metatheatre概念，并以《哈姆雷特》作为范例解读。Such plays have truth in them, not because they convince us of real occurrences or existing persons, but because they show the reality of dramatic imagination. All of them are theater pieces about life seen as already theatricalized .

Metaplay: 1. Characters who have self-consciousness participate in their own dramatisation (the world is a stage) Hamlet has playwright consciousness 2. Fantasy is essential, it is the heart of reality (life is a dream)