“舞台是一个由演员当着观众进行表演的场所。”这一定义通常是指舞台的实用意义。并不能全部包客导演艺术所涉及的舞台性质。黑格尔说:“对表演场所不能让它们保持原来的偶然状态,而是要把它们看着艺术的素材加以艺术的琢磨。”(《美学》第三卷)如果把这句话中的“艺术素材”当成剧作看待,把“艺术琢磨”当成导演对剧作的舜台创作来理解,黑格尔的这句话多少道出了导演艺术家对舞台工作的创造意义。一、两种中介:剧作与舞台面对作家的文学剧本,导演调动起主体全部政治的、社会的、美学的经验以及各种生活体验和情绪,赋予剧本以独特的个人感受,给予剧作生活的再认识再评价。但是这些怎么为观众所知呢?我们知道,没有一个艺术家不想使自己的思想情感为人所知。画家求助于画布,音乐家诉诸于音符,作家运用文字。导演艺术家要想使自己的思想情感为人所知离不开舞台。但是,导演艺术家主体意识的传达比别的艺术家主体意识的传达要复杂曲折得多。 “The stage is a place where the performers act in front of the audience.” This definition usually refers to the stage’s practical significance. It is not always possible to cover the stage nature of director’s art. Hegel said: “We can not keep the place of performance from being accidental, but rather look at the material of art for the sake of art.” (“Aesthetics” Volume III) If the phrase “ Art material ”as a play, the“ art of pondering ”as a director of the drama Shun Taiwan creation to understand, Hegel’s words out of some of the director’s artistic creation of stage work. First, the two intermediaries: the play and the stage Facing the writer’s literary script, the director transferred all the main political, social, aesthetic experience and a variety of life experiences and emotions, given the script with a unique personal experience, to give drama Re-understanding of life re-evaluation. But how can these be known to the audience? We know that no one artist does not want to make his thoughts and emotions known. The painter turned to the canvas, the musician resorts to notes, and the writer uses words. The director’s artist wants to make his own thoughts and emotions known to the world. However, the communication between the subjective consciousness of the director artist and the subjective consciousness of other artists is much more complex and tortuous.