發(fā)布時(shí)間：2024-06-01 10:31

　　本篇論文以加拿大劇作家羅伯遜·戴維斯(1913,8¹995,12)和他的戲劇作品為主要研究對(duì)象。文章首先對(duì)加拿大戲劇發(fā)展史、國(guó)內(nèi)外對(duì)羅伯遜·戴維斯戲劇研究的狀況以及英聯(lián)邦戲劇作了概要性的闡述。然后,分析了影響并激勵(lì)羅伯遜·戴維斯從事戲劇創(chuàng)作生涯的種種因素,如家庭、早年經(jīng)歷、小劇場(chǎng)運(yùn)動(dòng)以及他所處的社會(huì)環(huán)境,并在總結(jié)和歸納的基礎(chǔ)上,對(duì)他一生的戲劇作品進(jìn)行了綜合分類。其次,筆者根據(jù)戲劇創(chuàng)作理論,通過(guò)對(duì)戴維斯多部作品的分析,從不同角度重點(diǎn)探討和研究了羅伯遜·戴維斯的戲劇創(chuàng)作風(fēng)格和他戲劇作品的藝術(shù)特色,從而認(rèn)識(shí)和了解戴維斯在他所創(chuàng)作的作品中用傳統(tǒng)的情節(jié)劇所表現(xiàn)的喜劇風(fēng)格和他在對(duì)話、情節(jié)、人物塑造各方面的創(chuàng)作特點(diǎn)。最后,本文擬從羅伯遜·戴維斯的代表作品《財(cái)運(yùn),我的仇敵》中的主題和創(chuàng)作手法入手,研究這部作品的成功所在,從而領(lǐng)略劇作家羅伯遜·戴維斯的戲劇創(chuàng)作魅力和他在戲劇作品中給人們帶來(lái)的藝術(shù)享受,并通過(guò)對(duì)其作品和其所從事的戲劇活動(dòng)的分析,真正認(rèn)識(shí)羅伯遜·戴維斯在加拿大戲劇舞臺(tái)所處的地位和他對(duì)加拿大戲劇發(fā)展所具有的作用和影響,進(jìn)而深切感受羅伯遜·戴維斯獨(dú)特的藝術(shù)風(fēng)格和創(chuàng)作魅力。

【文章頁(yè)數(shù)】：94 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
Chinese Abstract
English Abstract
Chapter 1 Introduction
    1.1 Historical Development of Canadian Drama
    1.2 The Drama of Robertson Davies
    1.3 Commonwealth Drama
        1.3.1 The General State of Commonwealth Drama
        1.3.2 Four Phases of Commonwealth Drama
        1.3.3 American Cultural Influence on Commonwealth Drama
Chapter 2 Robertson Davies and His Playwriting
    2.1 A Brief Account of His Family Background
    2.2 Influences on Robertson Davies’s Playwriting
        2.2.1 Family
        2.2.2 Earlier Experiences
        2.2.3 Society
    2.3 Robertson Davies’s Plays
    2.4 Types of Davies’Plays
        2.4.1 History Plays
        2.4.2 Morality Plays
        2.4.3 Autobiographical Plays
Chapter 3 Artistic Styles and Various Artistic Features
    3.1 Artistic Style
    3.2 Artistic Features
        3.2.1 Form
        3.2.2 Dialogue
        3.2.3 Characterization
        3.2.4 Plot
Chapter 4 Robertson Davies’s Fortune, My Foe
    4.1 The Advent and Summary of Fortune, My Foe
    4.2 An Exploration of the Theme in Fortune, My Foe
    4.3 The Artistic Methods of Fortune, My Foe
    4.4 The Influence of Davies’Playwriting on Canadian Drama
Conclusion
References
Appendix
Acknowledgements



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