摘要
"在场"是戏剧的本质特征并和戏剧史上各种潮流变迁息息相关。现代主义的戏剧传统推崇文本的叙事建构,贬抑戏剧性和舞台形象。"在场"被界定为通过模拟的手段将不在场的"现实"展现出来,使观众仿佛置身于事件发生的现场。20世纪60年代,受阿尔托思想的影响,戏剧重新张扬演员的身体及视听意象,尝试自发性表演以及观众和戏剧之间随机互动。"在场"成为演员在戏剧当下自发地呈现内心精神以及戏剧和观众在不断变化的空间和无预先设定的条件下真实地、共同地创造一种不可重复的戏剧经验。然而,德里达和鲍德里亚关于"延异"和"拟像"的理论否定了纯粹的自发性和即时性,任何"在场"都无法逃脱"再现"的命运。进入后现代之后的当代戏剧将严肃议题、传统的结构、后现代元素和先锋戏剧的舞台能量混合制成一种新型的"现实主义"。戏剧糅合这种形式的"在场"并在呈现在场的同时,又揭示在场的幻觉。
＂Presence＂is a core concept in theater which contains overlapping and conflicting connotations.In modernistic tradition which prioritizes dramatic narrative and degrades spectacles,＂presence＂ is defined as the materialization of fictional drama,so that the audience feel that they are witnessing the real events here and now and tend to be emotionally engaged in the process.In the 1960s,under the influence of Artaud,many theater practitioners attempted to revive the theatrical aspects of theater.＂Presence＂ thus became synonymous with contingency,spontaneity and the interaction between audience and the stage.Later on,the theories of Derrida and Baudrillard questioned the concepts of pure ＂presence,＂ and pointed out the fact that ＂representation＂ is inevitable.Theater after deconstruction displays capacities to incorporate serious social concerns,theatrical energies,and postmodern techniques such as pastiche,parody and the appropriation of mass media.It stops to shun ＂representation＂ totally and exposes the illusion of ＂presence＂ while pursuing it.
出处
《外国文学研究》
CSSCI
北大核心
2010年第5期145-153,共9页
Foreign Literature Studies
关键词
在场
再现
残酷戏剧
解构
presence representation the Theater of Cruelty deconstruction
