叙事剧可争议的行动与参与性观演关系

发布时间：2018-06-28 15:17

本文选题：叙事剧 + 叙事　；参考：《戏剧文学》2017年10期

【摘要】：皮斯卡托和布莱希特的叙事剧发展了表现主义戏剧场景剧对争论的探寻。通过叙事这一争论策略的引入,叙事剧打破了戏剧有机情节的绝对性和封闭性,使观众、演员共同参与争论成为可能。同时,叙事剧在将戏剧行动历史化的过程中,揭露了社会性行动的矛盾性、多种可能性以及由此带来的可争论性。而且,叙事剧的争论策略变革了"第四堵墙"旁观者剧场,唤醒了剧场作为共同体处理公共事务场所的古老功能,使观众、演员和角色均成为社会事务争论的参与者。因此,叙事剧尝试打破旁观者模式,探寻一种争论式参与性观演关系,是介入性、参与性美学的重要尝试之一。
[Abstract]:The narrative drama of Pease Kato and Bly Hitt developed the exploration of the expressionist drama scene drama. Through the introduction of the narrative strategy, the narrative drama broke the absolute and closeness of the dramatic organic plot, making it possible for the audience and the actors to participate in the debate. At the same time, the narrative plays the historical process of dramatic action. The conflict of social action, a variety of possibilities and the consequent disputability were revealed. Moreover, the strategy of the narrative drama revolutionized the "fourth wall" bystander theatre, awakening the ancient function of the theatre as a community to deal with public affairs, and making the audience, actors and roles a participant in the debate on social affairs. The attempt to break the bystander mode and explore a controversial participatory relationship is one of the most important attempts in interventional and participatory aesthetics.
【作者单位】：云南行政学院;
【分类号】：J805

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