表现主义和荒诞派戏剧.doc

表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 现主义和荒诞派戏剧.doc 表现主义和荒诞派戏剧 Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.[1][2] Expressionist artists sought to express meaning[3] or emotional experience rather than physical reality.[3][4] Expressionism was developed as an avant-garde style before the First World War. It remained popular during the Weimar Republic,[1] particularly in Berlin. The style extended to a wide range of the arts, including painting, literature, theatre, dance, film, architecture and music. The term is sometimes suggestive of emotional angst. In a general sense, painters such as Matthias Grünewald and El Greco are sometimes termed expressionist, though in practice the term is applied mainly to 20th-century works. The Expressionist emphasis on individual perspective has been characterized as a reaction to positivism and other artistic styles such as naturalism and impressionism Origin of the term While the word expressionist was used in the modern sense as early as 1850, its origin is sometimes traced to paintings exhibited in 1901 in Paris by an obscure artist Julien-Auguste Hervé, which he called Expressionismes. [6] Though an alternate view is that the term was coined by the Czech art historian Antonin Matěj?ek in 1910, as the opposite of impressionism: "An Expressionist wishes, above all, to express himself... (an Expressionist rejects) immediate perception and builds on more complex psychic structures... Impressions and mental images that pass through mental peoples soul as through a filter which rids them of all substantial accretions to produce their clear essence [...and] are assimilated and condense into more general forms, into types, which he transcribes through simple short-hand formulae and symbols." [7] Expressionism is notoriously difficult to define, in part because it "overlapped with other major 'isms' of the modernist period: with Futurism, Vorticism, Cubism, Surrealism and Dada." [11] Richard Murphy also comments: "the search for an all-inclusive definition is problematic to the extent that the most challenging expressionists such as Kafka, [Gottfried] Benn and Döblin were simultaneous the most vociferous "anti-expressionists." [12] What, however, can be said, is that it was a movement that developed in the early twentieth-century mainly in Germany in reaction to the dehumanizing effect of industrialization and the growth of cities, and that "one of the central means by which expressionism identifies itself as an avante-garde movement, and by which it marks its distance to traditions and the cultural institution as a whole is through its relationship to realism and the dominant conventions of representation." [13] More explicitly: that the expressionists rejected the ideology of realism. [14] The term refers to an "artistic style in which the artist seeks to depict not objective reality but rather the subjective emotions and responses that objects and events arouse within a person." [15] It is arguable that all artists are expressive but there are many examples of art production in Europe from the 15th century onward which emphasize extreme emotion. Such art often occurs during times of social upheaval, such as the Protestant Reformation, German Peasants' War, Eight Years' War, and Spanish Occupation of the Netherlands, when the rape, pillage and disaster associated with periods of chaos and oppression are presented in the documents of the printmaker. Often the work is unimpressive aesthetically,[citation needed] yet has the capacity to cause the viewer to experience extreme emotions with the drama and often horror of the scenes depicted. Expressionism has been likened to Baroque by critics such as art historian Michel Ragon [16] and German philosopher Walter Benjamin.[17] According to Alberto Arbasino, a difference between the two is that "Expressionism doesn't shun the violently unpleasant effect, while baroque does. Expressionism throws some terrific 'fuck you's, baroque doesn't. Baroque is well-mannered."[18] American Expressionism[22] and American Figurative Expressionism, particularly the Boston figurative expressionism,[23] were an integral part of American modernism around the Second World War。 Major figurative Boston Expressionists included: Karl Zerbe, Hyman Bloom, Jack Levine, David Aronson. The Boston figurative Expressionists post World War II were increasingly marginalized by the development of abstract expressionism centered in New York City. After World War II, figurative expressionism influenced worldwide a large number of artists and styles. Thomas B. Hess wrote that "the ‘New figurative painting’ which some have been expecting as a reaction against Abstract Expressionism was implicit in it at the start, and is one of its most lineal continuities."[24] New York Figurative Expressionism[25][26] of the 1950s represented New York figurative artists such as Robert Beauchamp, Elaine de Kooning, Robert Goodnough, Grace Hartigan, Lester Johnson, Alex Katz, George McNeil (artist), Jan Muller, Fairfield Porter, Gregorio Prestopino, Larry Rivers and Bob Thompson. Lyrical Abstraction, Tachisme[27] of the 1940s and 1950s in Europe represented by artists such as Georges Mathieu, Hans Hartung, Nicolas de Staël and others. Bay Area Figurative Movement[28][29] represented by early figurative expressionists from the San Francisco area Elmer Bischoff, Richard Diebenkorn, and David Park. The movement from 1950 to 1965 was joined by Theophilus Brown, Paul Wonner, James Weeks, Hassel Smith, Nathan Oliveira, Bruce McGaw, Jay DeFeo, Joan Brown, Manuel Neri, Frank Lobdell, Joan Savo and Roland Peterson. Abstract Expressionism of the 1950s represented American artists such as Louise Bourgeois, Hans Burkhardt, Mary Callery, Nicolas Carone, Willem de Kooning, Jackson Pollock, Philip Guston, and others [30][31] that participated with figurative expressionism. In the United States and Canada, Lyrical Abstraction beginning during the late 1960s and the 1970s. Characterized by the work of Dan Christensen, Peter Young, Ronnie Landfield, Ronald Davis, Larry Poons, Walter Darby Bannard, Charles Arnoldi, Pat Lipsky and many others.[32][33][34] Neo-expressionism was an international revival style that began in the late 1970s and included artists from many nations: Literature Two leading Expressionist journals published in Berlin were Der Sturm, published by Herwarth Walden starting in 1910,[35] and Die Aktion, which first appeared in 1911 and was edited by Franz Pfemfert. Der Sturm published poetry and prose from contributors such as Peter Altenberg, Max Brod, Richard Dehmel, Alfred Döblin, Anatole France, Knut Hamsun, Arno Holz, Karl Kraus, Selma Lagerlöf, Adolf Loos, Heinrich Mann, Paul Scheerbart, and René Schickele, and writings, drawings, and prints by such artists as Kokoschka, Kandinsky, and members of Der blaue Reiter. In prose, the early stories and novels of Alfred Döblin were influenced by Expressionism,[36] and Franz Kafka is sometimes labelled an Expressionist.[37] Oskar Kokoschka's 1909 playlet, Murderer, The Hope of Women is often termed the first expressionist drama. In it, an unnamed man and woman struggle for dominance. The man brands the woman; she stabs and imprisons him. He frees himself and she falls dead at his touch. As the play ends, he slaughters all around him (in the words of the text) "like mosquitoes." The extreme simplification of characters to mythic types, choral effects, declamatory dialogue and heightened intensity all would become characteristic of later expressionist plays. The German composer Paul Hindemith created an operatic version of this play, which premiered in 1921. Expressionism was a dominant influence on early 20th-century German theatre, of which Georg Kaiser and Ernst Toller were the most famous playwrights. Other notable Expressionist dramatists included Reinhard Sorge, Walter Hasenclever, Hans Henny Jahnn, and Arnolt Bronnen. Important precursors were the Swedish playwright August Strindberg and German actor and dramatist Frank Wedekind. During the 1920s, Expressionism enjoyed a brief period of popularity in American theatre, including plays by Eugene O'Neill (The Hairy Ape, The Emperor Jones and The Great God Brown), Sophie Treadwell (Machinal) and Elmer Rice (The Adding Machine). Expressionist plays often dramatise the spiritual awakening and sufferings of their protagonists. Some utilise an episodic dramatic structure and are known as Stationendramen (station plays), modeled on the presentation of the suffering and death of Jesus in the Stations of the Cross. August Strindberg had pioneered this form with his autobiographical trilogy To Damascus. Theses plays also often dramatise the struggle against bourgeois values and established authority, frequently personified by the Father. In Sorge's The Beggar, (Der Bettler), for example, the young hero's mentally ill father raves about the prospect of mining the riches of Mars and is finally poisoned by his son. In Bronnen's Parricide (Vatermord), the son stabs his tyrannical father to death, only to have to fend off the frenzied sexual overtures of his mother. In Expressionist drama, the speech is either expansive and rhapsodic, or clipped and telegraphic. Director Leopold Jessner became famous for his expressionistic productions, often set on stark, steeply raked flights of stairs (having borrowed the idea from the Symbolist director and designer, Edward Gordon Craig. Among the poets associated with German Expressionism were George Trakl, Gottfried Benn, Georg Heym, Else Lasker-Schüler, Ernst Stadler, and August Stramm. T. S. Eliot has also been labeled an Expressionist. [38] Some further writers and works that have been called Expressionist include: Novelists: Franz Kafka (1883-1924): "Metamorphosis" (1915), The Trial (1925), The Castle (1926); [39] Rainer Marie Rilke (1875-1926): The Notebooks of Malte Laurids Brigge (1910); [40] Alfred Döblin (1857-1957): Berlin Alexanderplatz (1929); [41] Wyndham Lewis ( 1882-1957); [42] Djuna Barnes (1892-1982): Nightwood (1936);[43] Malcolm Lowry (1909-57): Under the Volcano (1947); Ernest Hemingway; [44] William Faulkner; [45] James Hanley (1897-1985); [46]; James Joyce (1882-1941): "The Nighttown" section of Ulysses (1922) [47] Patrick White (1912-90); [48] D. H. Lawrence;[49], Sheila Watson: Double Hook; [50] Elias Canetti: Auto de Fe; [51] Thomas Pynchon [52] Playwrights: Main article: Expressionism (theatre) Georg Kaiser (1878); Ernst Toller (1893-1939); Reinhard Sorge (1892-1916); Bertolt Brecht (1898-1956); Sean O'Casey (1880-1964); [53] Eugene O'Neill (1885-1953); Elmer Rice (1892-1967); Tennessee Williams (1911-83) [54]; Arthur Miller (1915-2005); Samuel Beckett (1906-89) [55] Theatre of the Absurd From Wikipedia, the free encyclopedia Jump to: navigation, search This article provides insufficient context for those unfamiliar with the subject. Please help improve the article with a good introductory style. (October 2009) The Theatre of the Absurd (French: Théâtre de l'Absurde) is a designation for particular plays of absurdist fiction written by a number of primarily European playwrights in the late 1960s, as well as one for the style of theatre which has evolved from their work. Their work expressed the belief that human existence has no meaning or purpose and therefore all communication breaks down. Critic Martin Esslin coined the term in his 1960 essay "Theatre of the Absurd." He related these plays based on a broad theme of the Absurd, similar to the way Albert Camus uses the term in his 1942 essay, "The Myth of Sisyphus".[1] The Absurd in these plays takes the form of man’s reaction to a world apparently without meaning, and/or man as a puppet controlled or menaced by invisible outside forces. Though the term is applied to a wide range of plays, some characteristics coincide in many of the plays: broad comedy, often similar to Vaudeville, mixed with horrific or tragic images; characters caught in hopeless situations forced to do repetitive or meaningless actions; dialogue full of clichés, wordplay, and nonsense; plots that are cyclical or absurdly expansive; either a parody or dismissal of realism and the concept of the "well-made play". Playwrights commonly associated with the Theatre of the Absurd include Samuel Beckett, Eugène Ionesco, Jean Genet, Harold Pinter, Tom Stoppard, Friedrich Dürrenmatt, Fernando Arrabal, Suzanne Carbone and Edward Albee. Theatrical features Plays within this group are absurd in that they focus not on logical acts, realistic occurrences, or traditional character development; they, instead, focus on human beings trapped in an incomprehensible world subject to any occurrence, no matter how illogical.[108][109][110] The theme of incomprehensibility is coupled with the inadequacy of language to form meaningful human connections.[24] According to Martin Esslin, Absurdism is "the inevitable devaluation of ideals, purity, and purpose"[111] Absurdist drama asks its viewer to "draw his own conclusions, make his own errors".[112] Though Theatre of the Absurd may be seen as nonsense, they have something to say and can be understood".[113] Esslin makes a distinction between the dictionary definition of absurd ("out of harmony" in the musical sense) and drama's understanding of the Absurd: "Absurd is that which is devoid of purpose.... Cut off from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless".[114] [edit] Characters The characters in Absurdist drama are lost and floating in an incomprehensible universe and they abandon rational devices and discursive thought because these approaches are inadequate.[115] Many characters appear as automatons stuck in routines speaking only in cliché (Ionesco called the Old Man and Old Woman in The Chairs "uber-marrionettes").[116][117] Characters are frequently stereotypical, archetypal, or flat character types as in Commedia dell'arte.[118][119][120] The more complex characters are in crisis because the world around them is incomprehensible.[120] Many of Pinter's plays, for example, feature characters trapped in an enclosed space menaced by some force the character can't understand. Pinter's first play was The Room – in which the main character, Rose, is menaced by Riley who invades her safe space though the actual source of menace remains a mystery [121] – and this theme of characters in a safe space menaced by an outside force is repeated in many of his later works (perhaps most famously in The Birthday Party). In Friedrich Dürrenmatt's The Visit the main character, Alfred, is menaced by Claire Zachanassian; Claire, richest woman in the world with a decaying body and multiple husbands throughout the play, has guaranteed a payout for anyone in the town willing to kill Alfred.[122] Characters in Absurdist drama may also face the chaos of a world that science and logic have abandoned. Ionesco's recurring character Berenger, for example, faces a killer without motivation in The Killer, and Berenger's logical arguments fail to convince the killer that killing is wrong.[123] In Rhinocéros, Berenger remains the only human on Earth who hasn’t turned into a rhinoceros and must decide whether or not to conform.[124][125] Characters may find themselves trapped in a routine or, in a metafictional conceit, trapped in a story; the titular characters in Tom Stoppard's Rosencrantz & Guildenstern Are Dead, for example, find themselves in a story (Hamlet) in which the outcome has already been written.[126][127] The plots of many Absurdist plays feature characters in interdependent pairs, commonly either two males or a male and a female. Some Beckett scholars call this the "pseudocouple".[128][129] The two characters may be roughly equal or have a begrudging interdependence (like Vladamir and Estragon in Waiting for Godot[126] or the two main characters in Rosencrantz & Guildenstern Are Dead); one character may be clearly dominant and may torture the passive character (like Pozzo and Lucky in Waiting for Godot or Hamm and Clov in Endgame); the relationship of the characters may shift dramatically throughout the play (as in Ionesco's The Lesson[130] or in many of Albee's plays, The Zoo Story[131][132] for example). [edit] Language Despite its reputation for nonsense language, much of the dialogue in Absurdist plays is naturalistic. The moments when characters resort to nonsense language or clichés–when words appear to have lost their denotative function, thus creating misunderstanding among the characters, making the Theatre of the Absurd distinctive.[24][133] Language frequently gains a certain phonetic, rhythmical, almost musical quality, opening up a wide range of often comedic playfulness.[134] Jean Tardieu, for example, in the series of short pieces Theatre de Chambre arranged the language as one arranges music.[135] Distinctively Absurdist language will range from meaningless clichés to Vaudeville-style word play to meaningless nonsense.[130][136] The Bald Soprano, for example, was inspired by a language book in which characters would exchange empty clichés that never ultimately amounted to true communication or true connection.[137][138] Likewise, the characters in The Bald Soprano–like many other Absurdist characters–go through routine dialogue full of clichés without actually communicating anything substantive or making a human connection.[139][140] In other cases, the dialogue is purposefully elliptical; the language of Absurdist Theater becomes secondary to the poetry of the concrete and objectified images of the stage.[141] Many of Beckett's plays devalue language for the sake of the striking tableau.[142] Harold Pinter–famous for his "Pinter pause"–presents more subtly elliptical dialogue; often the primary things characters should address is replaced by ellipsis or dashes. The following exchange between Aston and Davies in The Caretaker is typical of Pinter: ASTON. More or less exactly what you... DAVIES. That's it ... that's what I'm getting at is ... I mean, what sort of jobs ... (Pause.) ASTON. Well, there's things like the stairs ... and the ... the bells ... DAVIES. But it'd be a matter ... wouldn't it ... it'd be a matter of a broom ... isn't it?[143] Much of the dialogue in Absurdist drama (especially in Beckett's and Albee's plays, for example) reflects this kind of evasiveness and inability to make a connection.[131] When language that is apparently nonsensical appears, it also demonstrates this disconnection. It can be used for comic effect, as in Lucky's long speech in Godot when Pozzo says Lucky is demonstrating a talent for "thinking" as other characters comically attempt to stop him: LUCKY. Given the existence as uttered forth in the public works of Puncher and Wattmann of a personal God quaquaquaqua with white beard quaquaquaqua outside time without extension who from the heights of divine apathia divine athambia divine aphasia loves us dearly with some exceptions for reasons unknown but time will tell and suffers like the divine Miranda with those who for reasons unknown but time will tell are plunged in torment...[144] Nonsense may also be used abusively, as in Pinter's The Birthday Party when Goldberg and McCann torture Stanley with apparently nonsensical questions and non-sequiturs: GOLDBERG. What do you use for pajamas? STANLEY. Nothing. GOLDBERG. You verminate the sheet of your birth. MCCANN. What about the Albigensenist heresy? GOLDBERG. Who watered the wicket in Melbourne? MCCANN. What about the blessed Oliver Plunkett? GOLDBERG. Speak up Webber. Why did the chicken cross the road?[145] As in the above examples, nonsense in Absurdist theatre may be also used to demonstrate the limits of language while questioning or parodying the determinism of science and the knowability of truth.[146][147][148][citation needed] In Ionesco's The Lesson, a professor tries to force a pupil to understand his nonsensical philology lesson: PROFESSOR. ... In Spanish: the roses of my grandmother are as yellow as my grandfather who is Asiatic; in Latin: the roses of my grandmother are as yellow as my grandfather who is Asiatic. Do you detect the difference? Translate this into ... Romanian PUPIL. The ... how do you say "roses" in Romanian? PROFESSOR. But "roses", what else? ... "roses" is a translation in Oriental of the French word "roses", in Spanish "roses", do you get it? In Sardanapali, "roses"...[149] [edit] Plot Traditional plot structures are rarely a consideration in The Theatre of the Absurd.[150] Plots can consist of the absurd repetition of cliché and routine, as in Godot or The Bald Soprano.[151] Often there is a menacing outside force that remains a mystery; in The Birthday Party, for example, Goldberg and McCann confront Stanley, torture him with absurd questions, and drag him off at the end, but it is never revealed why.[152] In later Pinter plays, such as The Caretaker[153] and The Homecoming,[154] the menace is no longer entering from the outside but exists within the confined space. Other Absurdists use this kind of plot, as in Edward Albee's A Delicate Balance: Harry and Edna take refuge at the home of their friends Agnes and Tobias because they suddenly become frightened.[155] They have difficulty explaining what has frightened them:L HARRY: There was nothing ... but we were very scared. EDNA: We ... were ... terrified. HARRY: We were scared. It was like being lost: very young again, with the dark, and lost. There was no ... thing ... to be ... frightened of, but ... EDNA: WE WERE FRIGHTENED ... AND THERE WAS NOTHING.[156] Absence, emptiness, nothingness, and unresolved mysteries are central features in many Absurdist plots[157]: for example, in The Chairs an old couple welcomes a large number of guests to their home, but these guests are invisible so all we see is empty chairs, a representation of their absence.[158] Likewise, the action of Godot is centered around the absence of a man named Godot, for whom the characters perpetually wait. In many of Beckett's later plays, most features are stripped away and what's left is a minimalistic tableau: a woman walking slowly back and forth in Footfalls,[159] for example, or in Breath only a junk heap on stage and the sounds of breathing.[160][161] The plot may also revolve around an unexplained metamorphosis, a supernatural change, or a shift in the laws of physics. For example, in Ionesco's Amédée, or How to Get Rid of It, a couple must deal with a corpse that is steadily growing larger and larger; Ionesco never fully reveals the identity of the corpse, how this person died, or why it's continually growing, but the corpse ultimately – and, again, without explanation – floats away.[162][163] In Jean Tardieu's "The Keyhole" a lover watches a woman through a keyhole as she removes her clothes and then her flesh.[164] Like Pirandello, many Absurdists use meta-theatrical techniques to explore role fulfillment, fate, and the theatricality of theatre. This is true for many of Genet's plays: for example, in The Maids, two maids pretend to be their masters; in The Balcony brothel patrons take on elevated positions in role-playing games, but the line between theatre and reality starts to blur. Another complex example of this is Rosencrantz and Guildenstern are Dead: it's a play about two minor characters in Hamlet; these characters, in turn, have various encounters with the players who perform The Mousetrap, the play-with-in-the-play in Hamlet.[126][165] In Stoppard's Travesties, James Joyce and Tristan Tzara slip in and out of the plot of The Importance of Being Earnest.[166] Plots are frequently cyclical[130]: for example, Endgame begins where the play ended[167] – at the beginning of the play, Clov says, "Finished, it's finished, nearly finished, it must be nearly finished"[168] – and themes of cycle, routine, and repetition are explored throughout.[