摘要
自公元前460年左右,希腊戏剧舞台上最早使用门作为布景开始,便彻底改变了悲剧的节奏,可因门所创造的幻觉使各个场景交切,显示出几个时间和空间同步进行的效果,门的存在可以用于隐藏亦能用作揭秘,其创造出的想像世界意蕴丰富。剧场中的门代表着台上世界与台下世界的通道,演员自门"上场",他们的身份由普通人得以转化为戏剧角色,电视情景剧中"未上锁的门"也起到了类似的作用。几乎所有的舞台、电影、电视剧的房间都设置了门,然而戏剧舞台上的门却与电视中的门有着千差万别。门打开,信息便涌入;门关上,信息便终止流动。门槛的魔幻色彩具有强烈的象征意义,保留了格外郑重的仪式感,没有了门,就没有了宏伟的下场,因此也就没有真正的结尾。
Back to 460 B. C., a door was first used on the Greek stage, fundamentally altering the rhythm of the tragedy. The door and the illusion it created allowed an intercutting of scenes that had the effect of telescoping time and space. The door hides, and the door reveals. The sense of imaginary worlds it creates is very rich. In the theatre doors represent the passage between the onstage and offstage worlds. The actors enter the stage through a door and they are transformed from ordinary people to characters. The apartment door always unlocked in sitcoms functions something similar. Our stages, movies, and television shows depict rooms with doors, but the doors we see on television are different from those we have encountered onstage. The doorway opens and information flows in; it closes and the information flow ceases. Thresholds carry magical significance that maintains the sense of mortality. Without doors, there can be no grand exit and thus there is no finality.
出处
《戏剧艺术》
CSSCI
北大核心
2017年第2期91-102,共12页
Theatre Arts
关键词
戏剧
舞台布景
门
隐喻
theatre, stage scenery, door, metaphor
