瑞士作家迪伦马特是二战后德语剧坛最重要的剧作家之一，有人称他为“布莱希特死后最重要的德语戏剧天才”。他开创的悲喜剧创作风格自成一派，在二十世纪西方戏剧的发展中享有独特的地位。这些悲喜剧风格怪诞、情节离奇，人物性格多是类型化的，且常常通过作者的“即兴奇想”——凭作者特有的智慧、哲思、灵感和幽默感产生的奇特想法，在剧中制造喜剧效果。悲喜剧的这些特点拉开了舞台与观众之间的距离，使其对生活中熟悉的事物产生陌生感，并获得一种冷静旁观的理性视角，得以重新审视现实并进行反思。这些效果使悲喜剧达到了布莱希特所提出的间离理论所追求的目标。因此，有学者认为，迪伦马特以悲喜剧的方式开创了一种独特的间离效果。迪伦马特于1949年创作的《罗慕路斯大帝》是他的悲喜剧风格成熟后的第一部作品，其中的悲喜剧创作特点及其带来的间离效果都具有很强的代表性。本文将结合这部作品，探讨迪伦马特特有的悲喜剧风格和具体表现手法，在其剧作中产生的独特间离效果。

Swiss writer Friedrich Dürrenmatt was one of the most important playwrights in German theatrical circle after World War II. He set up a very unique writing style and succeeded with many of his grotesque tragicomedies. Characteristics of tragicomedies lead to distance between the stage and audiences, and bring about strangeness to the objects in daily life. Audiences can acquire calm and rational views from the tragicomedies, so that they are able to rethink the social problems in real life. These effects of tragicomedies achieve the targets of Brecht’s alienation theory. Therefore, some scholars believe that Dürrenmatt developed a unique alienation effect. Romulus the Great was the first style maturely written play, the creation characteristics and the alienation effects in it are both representative in Dürrenmatt’s tragicomedies. This paper analyses the creation characteristics in this play, and explores the unique alienation effects in Dürrenmatt’s tragicomedies.