纪律与戏剧性:歌德的《生命之河》中的栩栩如生的人物与运动的变迁

Matthew Feminella
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引用次数: 0

摘要

摘要:约翰·沃尔夫冈·冯·歌德1809年的小说《Wahlverwandtschaften》描绘了两个截然不同的女性角色:露西恩和奥蒂莉。由于这些场景与小说其余部分的关系被证明是神秘的,我将它们与歌德的《演员规则》(Regeln f r Schauspieler)以及迈克尔·弗里德(Michael Fried)同名作品中的吸收性和戏剧性的美学范畴结合起来阅读。因为活人舞台呈现出一种独特的戏剧模式,保持绝对的静止,我认为运动的主题证明了它们的意义。露西安的真人场面是演员纪律的一种增强形式,以约束她无序和不可预测的个性。对奥蒂利来说,活人场面展示了限制运动是如何与既定的社会行为规范联系在一起的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Discipline and Theatricality: Tableaux Vivants and the Vicissitudes of Movement in Goethe's Die Wahlverwandtschaften
Abstract:Johann Wolfgang von Goethe's 1809 novel Die Wahlverwandtschaften depicts two tableaux vivants scenes featuring contrasting female characters: Luciane and Ottilie. As the relationship of these scenes to the rest of the novel has proved enigmatic, I read them in conjunction with Goethe's Regeln für Schauspieler (Rules for Actors) as well as the aesthetic categories of absorption and theatricality from Michael Fried's work of the same name. Since tableaux vivants present a unique theatrical mode that maintains absolute stillness, I claim that it is the theme of movement that attests to their significance. Luciane's tableaux vivants scene is revealed to be an augmented form of actor discipline to restrain her disorderly and unpredictable personality. For Ottilie, the tableaux vivants scene demonstrates how restraining movement is implicated in the established societal norms for behavior.
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