摘要
“后现代”思潮于上世纪六七十年代在欧洲发轫,本质上是对“现代主义”离经叛道与价值转向。上世纪八九十年代“后现代”概念引入到中国,引发了哲学、艺术界的热潮。伴随21世纪“全球化”与“在地化”的趋同与逐异,后现代主义语境引发着文化秩序和美学原则的重建。中国剧场艺术在与异质文化的碰撞与交融中,借鉴和吸收了西方后现代剧场的艺术观念和表现手法,在创作思维、表演形态、观演关系上彰显了“本土化”的诉求。当代中国艺术家群体在近三四十年的理论和实践探索中,秉持扬弃的思辨立场,开辟了具有中国气派的剧场艺术奇观。透过管窥后现代语境下的剧场新象,阐释其多元呈现范式与传统美学价值取向,有助于进一步仰赖中国传统文化体系的结构张力,凝合中国戏场艺术之魂,建构当代中国剧场艺术自身的话语权与书写史。
The trend of thought of " postmodernism" started in Europe in the sixth and seventh decades of the last century,which is essentially a deviation from modernism and its value turn. In the 1980 s and 1990 s,the concept of " post-modernism" was implanted into China,which triggered the upsurge of philosophy and art circles. With the convergence and differentiation of " globalization" and " localization" in the 21 st century,the context of postmodernism leads to the reconstruction of cultural order and aesthetic principles. In the collision and blending with heterogeneous culture,Chinese theater art borrows and absorbs the artistic concepts and expression techniques of western postmodern theater,and manifests the appeal of " localization" in creative thinking,performance form and the relationship between performance and audience. It is helpful to further rely on the structural tension of Chinese traditional cultural system,condense the soul of Chinese theater art,and construct the discourse right and write history of contemporary Chinese theater art by looking at the new image of theater in the post-modern context and explaining its pluralistic presentation paradigm and traditional aesthetic value orientation.
作者
岳李
YUE Li(Conservatory of Music,Nanjing Xiaozhuang University,Nanjing,Jiangsu 210013;Academy of Performing Arts,National Taiwan University of Arts,Xinbei,Taiwan 22058)
出处
《艺术百家》
CSSCI
北大核心
2020年第6期82-87,共6页
Hundred Schools In Arts
基金
2017年度江苏省社科基金项目“中国艺术歌曲对传统文化基因的持守与拓新研究”(项目编号:17YSD008)阶段性成果之一
关键词
后现代语境
剧场新象
多元范式
传统美学
Postmodern Context
New Phenomenon in Theatre
Multiple Paradigms
Traditional Aesthetics
