论文部分内容阅读
作为西方最著名的戏剧导演之一,彼得·布鲁克既是一位极具时代色彩的剧场艺术家,也是一位莎剧导演大家:从1947年的传统版《暴风雨》,到1956年负有政治色彩的《暴风雨》,1968年后现代版《暴风雨》,直至1990年的土著版《暴风雨》,布鲁克一次次深入莎剧文本的肌体,以“空的空间”、“‘0’度剧场”、“无语境创作”等戏剧理念,在剧场空间掀起无限的想象张力。且不论其戏剧艺术在实验之路上走的多远,其终极目的不离“诠释”莎剧这一根本,这不仅使他与当代莎剧改写最终不同,也使其莎剧导演史成为莎士比亚在当下存在的一个缩影。
As one of the most famous theater directors in the West, Peter Brooke is both an epoch-making theater artist and a Shakespearean director: from the traditional 1947 storm of the storm to the politically charged 1956 Tempest, modern post-1968 Tempest until the 1990 edition of The Tempest, Brooke’s in-depth Shakespearean texts, Spaces, Spaces, “,” No context creation "and other theatrical concept, setting off unlimited imagination tension in the theater space. Regardless of how far his art of theatrical works is going on the path of experimentation, his ultimate goal is not to depart from the fundamental interpretation of Shakespearean opera, which not only makes him ultimately different from contemporary Shakespearean rewriting, but also makes his Shakespearean director’s history as Shakespeare A microcosm of the moment.