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本文作者分析了当代法国著名戏剧家亚瑟·阿达莫夫的名作《假如夏日复返》的所谓“梦幻的主体美学”,认为阿氏戏剧美学在于时空上均打破了舞台现实主义的表现手法;人物的上下场不按物理时间而依心理时间而定,甚至根本取消上下场的过程,而以灯光的移动和闪灭展示人物的存在与活动;在情节的展开上,也抛弃了传统逻辑的束缚,以展示人物杂乱的梦境为主;在舞台布景和道具设计上,阿氏也大胆打破传统现实主义手法,不但不再摹仿照搬现实生活场景,有时甚至让舞台上除人物外一无所有,以空白喻示“梦”之无限可能。
The author analyzes the so-called “fantastic subjective aesthetics” of the famous French contemporary theatrical artist Arthur Adamov, “If Returning Summer in Summer,” arguing that his aesthetics of theatrical aesthetics breaks the stage expressionism of realism in time and space ; The character’s up and down according to the physical time does not depend on the psychological time, or even cancel the process of going up and down, and the light of the movement and flashing show the existence and activities of the characters; in plot expansion, also abandoned the traditional logic In order to show the chaotic dreams of people. In the stage design and props design, Abe also dared to break the traditional realism and not only copy and imitate real-life scenes but sometimes even have nothing on the stage outside Blank metaphor “dream” of infinite possibilities.