| 曹禺悲剧艺术论 |
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| 引用本文： | 谢柏梁. 曹禺悲剧艺术论[J]. 湖南文理学院学报(社会科学版), 2004, 29(5): 54-58 |
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| 作者姓名： | 谢柏梁 |
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| 作者单位： | 上海交通大学媒体学院 上海200030 |
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| 摘 要： | 自从曹禺“出山”之后 ,中国话剧才开始成为真正的戏剧艺术 ,才开始具备自己鲜明的悲剧蕴涵、民族特色和突出的国际意义。作为中国话剧的核心人物 ,曹禺是民族话剧的辉煌和骄傲 ,更是将中国现代悲剧写得最为精彩绝伦、表现得较为深刻广博的大师级人物。从悲剧艺术方面来研究曹禺 ,也许更能够切合其创作的实际 ,捕捉其不朽的灵光
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| 关 键 词： | 曹禺 悲剧 话剧 |
| 文章编号： | 1672-6154(2004)05-0054-05 |
| 修稿时间： | 2004-06-04 |
On Cao Yu''''s Tragedy Art |
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| XIE Bo-liang. On Cao Yu''''s Tragedy Art[J]. Journal of Hunan University of Arts and Science:Social Science Edition, 2004, 29(5): 54-58 |
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| Authors: | XIE Bo-liang |
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| Abstract: | Only with Cao Yu did Chinese modern drama come into being as true drama art and have its own clear tragedy connotations, national characteristics and outstanding international significance. As the key figure in Chinese modern drama, Cao Yu is the grandeur and pride of national drama and the master in depicting Chinese modern tragedy brilliantly and profoundly. To study Cao Yu from the perspective of tragedy art suits his creation reality better and makes us grasp his everlasting spirit. |
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| Keywords: | Cao Yu tragedy modern drama |
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