中国当下话剧舞台空间的美学思考

发布时间：2018-03-01 22:02

本文关键词： 当下中国话剧动作空间知觉空间交往空间审美空间　出处：《辽宁大学》2014年硕士论文　论文类型：学位论文

【摘要】：2013年末，《人民日报》等期刊以及一些网站纷纷对2013年中国本土话剧进行盘点。用两个关键词可以总结他们的观点：“活力”和“原创力”。“活力”针对的是话剧市场，中国当下的话剧市场比以往任何时候都要繁荣，作品产出逐步增加，作品的多样性也给观众提供了多种选择。但是在其背后，便是“原创力”枯竭的问题。从中我们不难看出中国当下话剧所面临的问题，而问题的根源更多的可以归结为中国话剧舞台空间的问题。所以，对于中国当下话剧舞台空间的研究和探索就显得尤为迫切和重要。本文从剧场样式的流变和空间观念的流变入手，对中国当下话剧舞台空间进行简要的概述。剧场作为舞台空间的载体，从镜框舞台剧场到“镜框——伸出”舞台剧场再到小剧场，大致勾勒出中国剧场在样式上的转变。而人类空间观念不断地推进，从二维到三维直到多维的空间观念，塑造了话剧舞台的实景空间和空的空间。进入话剧舞台空间中的动作空间，这一部分主要从演员的身体和动作空间的流动性来对中国当下话剧进行分析。演员身体作为动作空间的起点，在中国当下话剧中呈现为向内伸延和向外伸延的趋势。而动作空间的实质性流动和隐秘性流动，以及它们彼此间的交互流动是组织动作空间的基础。对于动作空间的组织其实是为了让观众更好地观看，，而“看”则涉及到了话剧舞台空间的知觉空间。本文将从视觉和听觉两部分对中国当下话剧在塑造知觉空间中的得失利弊进行现象的梳理和理论上的概括。其中涉及空白与交流、声音对于空间的塑造和拓展等问题。对于话剧来说，剧场性是它区别于其它艺术的重要因素之一。而剧场性集中反映在话剧舞台空间的交往空间之中。中国当下话剧在观演关系上存在很多的问题，作为观众是旁观还是参与，其实就涉及到创作者对交往空间的设计。而动作空间、知觉空间和交往空间环环相扣，最终需要在审美空间中得到升华。对于中国当下话剧在审美空间中如何适合的掌握符号的密度，如何把握适度的创造尺度都将在文中进行详细地探讨。
[Abstract]:In end of 2013, journals such as People's Daily and some websites took stock of local Chinese drama in 2013. Their views were summed up in two key words: "vigor" and "originality". "vigor" was aimed at the drama market. The Chinese drama market is booming now than ever before, the output of works is gradually increasing, and the diversity of works offers viewers a variety of choices. But behind it, It is the problem of "originality" drying up. It is not difficult to see the problems that Chinese modern drama faces, and the root of the problems can be attributed more to the problems of the stage space of Chinese drama. So, The research and exploration of the stage space of Chinese drama is particularly urgent and important. This article starts with the evolution of the theater style and the concept of space, and gives a brief overview of the stage space of the present Chinese drama, which is the carrier of the stage space. From the framed stage theater to the "framed" stage theater to the small theater, the change in the style of the Chinese theater is roughly outlined. And the concept of human space is constantly advancing, from two to three to three dimensions to a multidimensional concept of space. Created the actual scene space and the empty space of the stage of the drama. Enter the action space of the stage space of the drama, This part mainly analyzes the current Chinese drama from the mobility of the actor's body and action space. The actor's body is the starting point of the action space. In the present Chinese drama, there is a tendency to extend inward and outwards, while the substantive flow and covert flow of the action space, And how they interact with each other is the basis for organizing the action space, which is actually organized to allow the audience to see it better. This paper will sort out and summarize theoretically the advantages and disadvantages of the present Chinese drama in shaping the perceptual space from the two parts of vision and hearing. Involving gaps and communication, How sound shapes and expands space. For drama, Theater is one of the important factors that distinguishes it from other arts. And theater is reflected in the communication space of stage space of drama. There are many problems in the relationship between watching and acting in Chinese modern drama. As an audience, we should watch or participate in it. In fact, it involves the creator's design of the communication space. And the action space, the perceptual space and the communication space are intertwined. Finally, we need to be sublimated in the aesthetic space. How to grasp the density of symbols and how to grasp the appropriate scale of creation will be discussed in detail in this paper.
【学位授予单位】：辽宁大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J824

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