大屠杀可能很重要,但它不再是原创的:2000年至2017年斯洛伐克戏剧评论中大屠杀的表现

Pub Date : 2019-01-01 DOI:10.17646/KOME.75698.61
Lucia Mihálová, Marek Urban
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引用次数: 0

摘要

本文报告了对2000年至2017年期间发表的142篇斯洛伐克戏剧评论的定性专题分析结果,其中约有25部大屠杀戏剧在斯洛伐克上演。直到2015年,大多数大屠杀戏剧都采用了“布莱希特”的隔阂效果,但自2015年初以来,斯洛伐克戏剧转向使用现实主义表现。利用异化效应的戏剧在他们的评论中被认为是原创作品,并强调这些戏剧的社会价值,而现实主义的表现被认为是过时的和非原创的。随着评论中缺乏独创性的出现,这些戏剧的社会价值减少了,评论家对大屠杀戏剧的兴趣也消退了。随后的定量分析支持了这些结论。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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The Holocaust May Be Important, But It’s No Longer Original: Representations of the Holocaust in Slovak Theatre Reviews from 2000 to 2017
: This article reports findings from a qualitative thematic analysis of 142 Slovak theatre reviews published from 2000 to 2017 about 25 Holocaust dramas staged in Slovakia. Until 2015, most Holocaust dramas employed the “Brechtian” estrangement effect, but since the beginning of 2015, Slovak theatre has shifted towards the use of realistic representation. Dramas employing the estrangement effect were in their reviews considered to be original artworks, and the social value of these plays was emphasized, while realistic representation was considered to be outdated and unoriginal. With the emergence of unoriginality in reviews, the attributed social value of these dramas diminished and the interest of reviewers in the Holocaust drama faded. The subsequent quantitative analysis supports these conclusions.
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