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onnection in the world, and he that was to the lack of correlation caused by some kind of consciousness. In the big and small "of the heroine's like striders appears as a los in all kinds of concrete or abstract sites, she is trying to assimilate into society, and a relative or stranger exchanges, she want to learn foreign languages also eager to communicate that wish, but she always in big trouble, situation worse. Strauss doesn't agree with the convergence of interpretation request, he works in a lot of the description of the diaphragm between people, however the diaphragm shall from two sense, on the one hand, the cold, on the one hand, the understanding of the impossible. Strauss emphasizes the role of don't understand, because you do not understand will bring marvel, cause the desire to find. In the 90 s strauss novels such as "QuZhong chorus", "similar" and "forget kiss" in this communication barriers still exists, but the dialogue is no longer attached to the fixed upon which roles, but free is in the stage of space, the identity of the character and personality is not clear, but to become the language of the drama of abstraction carrier.

人与人之间的隔膜是斯特劳斯早期剧作(七八十年代) 作品的重要母题,它既体现在舞台上人物之间、事件之间的孤立和关系混乱,又体现在舞台与观众之间造成的陌生化效果和费解。《臆病患者》中,爱情、侦探、犯罪、恐怖和家庭伦理的若干线索被无序地交织在一起。博托•斯特劳斯没有试图在这些孤立的情节中寻找关联,相反,他把这些戏剧情节像谜一样悬置在那里,使它们无法用单一视角的因果关系去阐释。他的第2 部作品喜剧《熟悉的脸孔;混杂的情感》描述了7 位饭店客人的空虚而混乱的日常现实,在带有自然主义风格的场景中,人物们却置身在一个超现实的梦境事件当中。幻想和现实、经验和梦境揉合在一起,一件微小的细节就会突兀地引爆人与人之间用礼节压抑的仇视和漠视。这些客人想象着一个单纯的未受浸染的世界,最后却在迷茫混乱中终结。有评论认为斯特劳斯的早期作品如《癔病患者》和《熟悉的脸孔;混杂的情感》受到布朗肖和巴歇拉尔的影响。在《重逢三部曲》的第3 部《良好关系》中17 个演员以不同的身份出场,应策展人莫里茨之邀前往观看画展,人物格局交错,他们之间既有对话的渴望,又有排斥和回避,充满结结巴巴、言不由衷、词不达意和相互的误解。斯特劳斯借莫里茨之口说出展览缺乏关联,他怀疑世界上是否存在关联,而他正是要通过关联的匮乏引发某种意识。在《大与小》当中,女主人公洛蒂像漫游者一样出现在各种具象或抽象的场所中,她处处试图融入社会,与亲人或陌生人交流,她想学习外语也说明渴望交流的愿望,可是她总是四处碰壁,境遇每况愈下。斯特劳斯并不赞同阐释的趋同要求,他在很多作品当中描写了人与人之间的隔膜,然而这种隔膜应该从两种意义上理解,一方面是冷漠,一方面是理解的不可能。斯特劳斯强调不理解的作用,因为不理解会带来惊叹,引起发现的欲望。在斯特劳斯90 年代的作品如《曲终合唱》、《相似》和《忘却之吻》中,这种交流上的阻碍依然存在,只是对话不再固定附着在哪个角色身上,而是游离在舞台空间当中,人物的身份及个性也不明确,而是成为抽象化了的戏剧语言的载体。

Strauss in the 80 s the other plays a characteristic is a lot into the myth, a is an important reason for the drama and myth on the structure and the time and space on the conversion, similar to the identity of the on the stage of the set change, change the deformation of similar mythology (Metamorphose). Strauss representation and deformation of the with ways to handle myth, he will Shakespeare "a midsummer night's dream" fairy WangHeXian, please go to of the park ", and "a midsummer night's dream" story and mostly from in Ovid's "deformation to record", he is also in the Iraq takas quoted in Greek mythology PuSi and the ear between China and Russia in dick story, etc. Critics of the myth of the subject matter discusses strauss by adorno's thought of reflection effects, his of consumption society, immersed in the mass media, in surface complacency life puts forward the criticism, think artists can show was forced to exit the happiness, and save the role of paralysis life. To Fragment (Fragment) and reflection of the use of the creation of 90 s strauss is a characteristic, although the form of pieces before existed, but after 1989 he in the fuzzy fragments of the ", "no beginning an本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。