摘要
托马斯·奥斯特玛雅倡导的新现实主义有别于传统的现实主义和盛行于德国的后戏剧剧场。新现实主义强调依托戏剧文本打造一种能与当下社会现实相呼应的情境,以此为背景,发挥演员肢体的创造能动性,以最大的刺激直击观众,从而迫使观众出场,参与戏剧意义的创造。邵宾纳版《哈姆莱特》用舞台符号重构了当代消费主义的情境,以怪诞的暴力和肮脏的舞台呈现创新观演交流模式,逼迫观众具身化地感知个体遭遇消费品入侵和异化时的脆弱性。这种与陌异性不同寻常和不可言说的相遇,也让观众的主体性陷入危机。在对普遍现实的深度关注和对戏剧性的全新探索中,奥斯特玛雅践行了自己的新现实主义美学,将"现实"的内涵推向了更具有现代艺术色彩的"实在"。
New realism advocated by Thomas Ostermeier differs from either traditional realism or the post-dramatic theatre that prevails in Germany.On the one hand,it emphasizes the playscript’s significance to creating a situation that corresponds to current social reality;on the other hand,it releases the creative power of the actors’ bodies,which directly confront spectators with the greatest stimulus,thus forcing them to be present and to participate in the creation of meaning.Reconstructing a contemporary consumerist situation with stage signs,the Schaub(u|")hne’s Hamlet innovates modes of stage-audience communication through using grotesque violence and obscenity,highlighting the embodied cognition of individual vulnerability to consumer goods’ invasion and alienation.Such an encounter with unusual and ineffable alterity also puts spectators’ subjectivity in crisis.Through a concern for universal reality and a new exploration of theatricality,Ostermeier puts into practice his own neo-realist aesthetics,and transforms the connotation of "reality" into "the real" that is embraced by modern art.
出处
《戏剧艺术》
CSSCI
北大核心
2021年第5期117-126,共10页
Theatre Arts
基金
国家社科基金艺术学重大项目“当代欧美戏剧理论前沿问题研究”(批准号:18ZD06)
山东大学青年学者未来计划(2018WLJH17)的阶段性成果。
关键词
新现实主义
奥斯特玛雅
消费主义
怪诞
肮脏
new realism
Thomas Ostermeier
consumerism
the grotesque
obscenity
