介入社会现实:浸没剧的越界美学

发布时间：2018-04-14 01:29

  本文选题：《吉卜赛大篷车》 + 阿努剧团　； 参考：《外国文学研究》2017年05期

【摘要】：浸没剧是欧美方兴未艾的一种非剧场形式的戏剧,但国内对此类戏剧的探讨和介绍均流于商业类浸没剧,而忽略了其固有的社会介入功能。通过结合波瓦"被压迫者戏剧"的理念,浸没剧可以在空间和观演互动两个层面,实现介入公共议题的潜力。当代爱尔兰阿努剧团的作品《吉卜赛大篷车》便是介入式浸没剧的代表:作品将演出置于具有高度政治性的非剧场空间,从经济、政治和历史维度曝光空间中被遮蔽的现实,从而进行社会批判;同时,演出以多种观演互动的方式突破一般商业浸没剧的观演界限,并将意义重大的伦理抉择与观众的感官结合,以肉身的直接介入,激发观众参与公共议题,并最终引发对既有观念的反思。在对传统戏剧观念和形态的多重越界中,浸没剧对社会和历史批判的力度,也超越了其他先锋戏剧。
[Abstract]:Immersion drama is a kind of non-theatrical drama that is in the ascendant in Europe and America, but the discussion and introduction of this kind of drama in our country are all in the commercial type immersion drama, but ignore its inherent social intervention function.By combining the concept of "oppressed drama", immersion drama can realize the potential to intervene in public issues at the two levels of interaction between space and performance.The contemporary Irish Drama Company, Gypsy Caravan, is a representative of intrusive immersion: the work puts the performance in a highly political non-theater space, obscured by the realities of the economic, political, and historical dimensions of exposure.At the same time, the performance breaks through the boundaries of the general commercial immersion drama in a variety of ways, and combines the significant ethical choices with the audience's senses, with the direct involvement of the physical body.Stimulate the audience to participate in public issues, and ultimately lead to reflection on existing ideas.In the process of crossing the boundaries of the traditional concepts and forms of drama, immersive drama criticizes society and history, and surpasses other avant-garde dramas.
【作者单位】： 山东大学外国语学院;
【基金】：山东大学基本科研业务费专项资金“爱尔兰当代戏剧与城市空间”~~
【分类号】：J805
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本文编号：1747126