《长日入夜行》中舞台指令的的作用_英语论文

On the Stage Directions in Eugene O’Neill’s drama Long Day’s Journey Into Night

摘要

作为戏剧重要组成部分的舞台指令一直被戏剧研究中被忽视。直到现代戏剧中、大量的舞台指令开始出现，并且扮演着十分重要的角色，舞台指令才逐渐引起重视。荒诞派戏剧的代表人物贝克特的《哑剧》中，整部作品全由舞台指令构成，没有一句台词。这足以说明舞台指令在现代戏剧中的重要作用。尤金·奥尼尔作为一名杰出的现代戏剧家，在作品中使用了大量的舞台指令。在他的普利策获奖作品《长日入夜行》中，运用了大量的舞台指令来进行了舞台布景说明，人物外貌描述，演员动作神态指令等，这些不仅是对剧场工作人员及导演进行排演指导，同时也对于作品本身的审美价值有着重要的贡献。本文旨在通过对《长日入夜行》一剧中部分舞台指令的分析，探讨其隐含的意义和对人物塑造、情节发展的作用，进而了解舞台指令是如何实现其对作品审美价值的贡献的。

关键字：尤金·奥尼尔 舞台指令 人物塑造

Abstract

Stage directions as an important component of a play have been neglected in drama study. Until the appearance of modern drama in which stage directions are playing a significant role, with the typical example of The Theater of Absurd represented by Samuel Beckett’s Act without Words, stage directions began to be attached with great importance. Eugene O’Neil as one of the greatest dramatist have used a considerable amount of stage directions in his plays, including Long Day’s Journey Into Night which won him the Pulitzer Prize for the third time. In this play, stage directions have been used either to describe the characters, to direct the actor’ s action, or to depict the stage settings. This paper is aimed to analyze the contributions of the stage directions to some aesthetic values, such as characterization and plot development. Through drawing inferences from the stage directions describing the main characters, it may become more clear in what way they help to portray the characters.

Keywords：Eugene O’Neil Stage directions Characterization