摘要
何为剧场性,这是近年来当代剧场艺术研究中浮现的一个焦点问题。它是一种美学维度,一种艺术形式,亦是在思索剧场公共性及伦理性等语言框架时的一个有效的范例。从罗兰·巴特对剧场性的定义——“减去文本”(独立于剧本而在空间中成立的东西的存在)出发,以俄罗斯瓦赫坦戈夫剧院的戏剧《叶普盖尼·奥涅金》展开分析发现:“剧场性”不仅仅是戏剧创作的法则,更是造就观演边界改变以及各种元素平等运动的创造性观念,剧场因此呈现为如德勒兹所言“内在性的一致平面”之哲学剧场。
Theatricality has been a hot issue in the study of contemporary theater arts in recent years.It is an aesthetic dimension,an artistic form,and also an effective paradigm for thinking about the linguistic framework such as the publicness and ethics of theater.In light of Roland Barthes’definition of theatricality as“subtracting text”(the existence of the object that exists in space independent of the play),this paper analyzes the production of Yevgeny Onegin by the Russian Vakhtangov Theatre Company.It concludes that theatricality is not only a law of dramatic creation,but a creative concept that causes the change of the boundaries between audience and performance and promotes an equal movement of various elements.Thus,the theater becomes the philosophical theater with“the plane of immanence”as Deleuze puts it.
作者
王音洁
WANG Yinjie(Fashion Designer&Engineer School,Zhejiang Sci-Tech University,Hangzhou 310000,China)
出处
《同济大学学报（社会科学版）》
CSSCI
北大核心
2022年第2期73-81,共9页
Journal of Tongji University:Social Science Edition
关键词
剧场性
减去文本
单义性
内在性平面
哲学剧场
theatricality
subtracting text
the univocity of being
the plane of immanence
philosophical theater
