阿道尔夫·阿庇亚(1862—1928)晚年出版他最后一部著作《活的艺术品》,据他自己说,这是他一生中最重要、也最充分地表达了他成熟思想的书。所谓《活的艺术品》,是从瓦格纳乐剧引伸和概括出的更抽象的一个名称,它是指一种以活的人体为媒介的,完全受音乐控制的戏剧,相对于绘画、雕塑、建筑等静止的艺术而言,它是活的艺术。阿庇亚企图在这本书中建立起他的戏剧美学,有比较系统的论述。在全书未能翻译出版之时,现在选择了其中《活的时间》、《活的空间》和《活的色彩》三个部分先予发表。阿庇亚一直在寻找音乐的空间表现形式。在《活的时间》中,他提出了音乐配置的不同时限可以产生无限的节奏现象,这种节奏现象也可以在空间中获得表现,而人体的活动是这两者间的媒介。在《活的空间》中,他提出了坚实和重量这两个因素,水平面承担了人体的重量,而垂直面可以与人体起对比作用,两者都要坚实,对于人体施加于它周围的压力起对抗的作用。在此阿庇亚发展了他早先就提出的以直线衬托人体的曲线,和以静态衬托人体的动态,从而造成对比美的思想。在《活的色彩》中他强调灯光色彩,这也就压低了绘景的作用。阿庇亚在这里建立起一个序列,也就是把各种舞台表现手段按其重要性排成一个次序:音乐是第一位的,它支配人体的活动,而人体又支配了空间,灯光可以使人体活动和空间协调起来,而绘景最不重要,甚至受到排斥。音乐—演员—空间—灯光—绘景,这就是著名的阿庇亚序列。正是通过这一序列理论的建树,阿庇亚向自然主义展开了严峻的挑战,并使20世纪戏剧转入新的航程。人们称颂他在演出史中是一位新的审美观念的先驱人物。他所提出的节奏空间、简炼布景、强化灯光等主张直至当代一直在演出中起指导性作用。阿庇亚晚年的著作更抽象,更富于哲理性,也较难理解和翻译。《活的艺术品》1921年出版于瑞士,相隔40年之后才在美国有英译本问世,传入我国则已是80年代了。本文译自1962年美国版《〈活的艺术品〉和〈人是万物的尺度〉》一书,英译者H.D.奥尔布赖特。 Later in his life, Adolfo Apia (1862-1928) published his last book, Living Art, which, as he himself said, was the most important of his life and most fully expressed his mature ideas book. The so-called “living art” is a more abstract name that is drawn and summarized from the Wagner’s musical. It refers to a completely music-controlled drama mediated by living human beings, It is a living art in terms of stationary art, such as architecture. Apia tried to establish his aesthetics of drama in this book, with a more systematic exposition. At the time when the whole book was not translated, I now chose to publish the three parts of “Live Time”, “Living Space” and “Live Colors”. Apia has been looking for spatial expressions of music. In “Live Time”, he proposed that different time periods of music configuration can produce infinite rhythm phenomena, which can also be expressed in space, and human activities are the medium between the two. In “Living Space,” he put forward the two factors of solidity and weight. The horizontal plane takes on the weight of the human body. The vertical plane can be compared with the human body. Both of them must be solid, and the pressure exerted by the human body around it The role of confrontation. Here, the concept of contrasting beauty has been developed in the city by popularizing the curve he has proposed earlier, which sets off the human body in a straight line and the dynamic that sets the human body in a static state. In “Live Colors” he emphasizes the light color, which also depresses the effect of painting. Here, Apia builds a sequence in which the various means of stage performance are ranked in order of importance: music is the first, which governs the activities of the human body, which in turn dictates the space in which light can be made Coordination of human activities and space, and painting the most important, or even excluded. Music - Actors - Space - Lights - Paintings, this is the famous Apus sequence. It is through this sequence of achievements that Ephedure posed a serious challenge to naturalism and brought 20th-century theater to a new voyage. People praise him in the history of the show is a pioneer of a new aesthetic concept. His ideas of rhythmic space, scenery refinement, and intensified lighting have played an instructive role in contemporary performances. The writings of Apia in later life are more abstract, more philosophical, and harder to understand and translate. “Living Art” was published in Switzerland in 1921 and came into existence in the United States 40 years from now. It was 80’s when it came to our country. This article translated from the 1962 edition of the American edition of and , by H.D. Albright.