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近半个世纪以来视觉文化勃兴和消费主义流行所推动的戏剧景观化和景观戏剧的出现和发展,对戏剧的艺术、文化和产业实践都产生了重要影响,但却没有得到足够的理论关注。本文从时代性和民族性角度,审视了中国本土景观戏剧和西方景观戏剧在艺术特征、运营模式、审美机制上的异同。结合陈瘦竹先生的民族戏剧理论以及他对“排场戏”的论述,提出了当代戏剧发展能否与景观“共舞”的学理追问,认为中国的民族戏剧理论体系的建构不应回避对这一问题的关注和探究。
The emergence and development of drama landscape and landscape drama promoted by the popularization of visual culture and the prevalence of consumerism in the past half century have had an important influence on the art, culture and industrial practice of drama but have not received enough theoretical attention. This article examines the similarities and differences between Chinese local theater and Western theater in terms of artistic features, mode of operation and aesthetic mechanism from the perspective of the times and nationalities. Combined with Chen Shou-zhu’s theory of national drama and his exposition on “playing the game”, he put forward the question whether the development of contemporary drama can “dances” with the landscape, and thinks that the construction of the theory system of Chinese national drama should not be avoided Concern and exploration of this issue.