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剧场符号的体系化以“剧场符号学”为基准,对包含舞蹈剧场在内的剧场作品提供分析性的工具和范式。将剧场符号分析应用到舞蹈剧场作品内部的思考,始于20世纪20年代“问题意识”推动下现代舞的发展;到20世纪70年代,以皮娜·鲍什的舞蹈剧场为代表,舞台综合语言的交融使用,促使我们对舞蹈剧场作品的分析需要更为理性的方法。本文以20世纪90年代欧洲重要的舞蹈剧场之一——DV8肢体剧场的《进入阿基琉斯》为例,试图得出剧场符号的体系化不仅为剧场作品提供了丰富可观的描述之可能,同时探讨作品中“意义”是如何藉由符号的表述与交互而产生,并有效传达的。
The systematization of the theater symbol based on “Theater Semiology ” provides an analytical tool and paradigm for theater works including dance theater. The analysis of the theater symbolic analysis applied to the interior of a dance theater began with the development of modern dance in the 1920s under the theme of “Problem Consciousness.” By the 1970s, with Pina Bausch’s dance theater as the representative, The integration of stage synthesis language used to urge our analysis of the works of dance theaters need a more rational approach. This article takes “Enter Achilles”, one of the important dance theater in Europe in the 90s of the 20th century as an example, and tries to conclude that the systematicization of theater symbols not only provides the possibility for a rich and substantial description of theater works, At the same time, it explores how “meaning ” in the work is generated by the expression and interaction of symbols and effectively communicated.