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雷曼先生在其文章《悲剧的未来?──论政治剧场与后戏剧剧场》~([1])的开篇以埃及艺术家莱拉·索利曼的艺术项目“没时间搞艺术”为例,用以开启悲剧在其所定义的“后戏剧剧场”语境中新的发展趋向与特点。索利曼的项目以在开罗大规模示威中被警察打死的受害者为创作素材,通过让观众在剧场里念出他们的名字,给他们写信,共同参与、完成一次能够唤起观众悲剧性情感的演出。这个作品被雷曼先生形容为“没有表演,没有剧场,没有扮
In his essay ”The Future of the Tragedy? - On the Theater of Politics and the Post-Drama Theater“ ~ ([1]), Lehman started his career with the Egyptian artist Laila Soliman’s art project, ”No Time to Engage in Art.“ For example, we should start the new trends and characteristics of the tragedy in its definition of ”theater theater“. Soliman’s project is based on the victims killed by the police at the mass demonstrations in Cairo. By letting the audience read out their names in the theater, write letters to them, and participate in a program that can arouse the audience’s tragedy Emotional performance. This work is described by Mr. Lehman as ”no show, no theater, no dress