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剧场,就是戏剧演出的场所。一个特定的公共空间,依照特定的制度形成特定的“演出”模式,也就构成特定的创作模式。其实,不论是流动剧场还是固定剧场,其基本制度相对稳定,其空间样态也相对稳定。我们可以一眼识别戏剧舞台外部形态上的差异,但我们是否注意到其内在的一致性?因此,我们探讨两种不同形制的剧场时,既不是讨论两种时效功能不一的剧场形式,也不是讨论某种形式规模不一的剧场样态,而是讨论不同文化情境中的两种剧场形态。中国戏曲的表演张力与舞台的张力是无法分离的,其历史的穿透力与语言的穿透力也无法分离。歌舞戏,是中国戏曲的传统,也是中国剧场赖以存在的理由。传统剧场的总体性就体现为人的协调能力,包括人的空间想象力和歌舞戏剧的活动力。
Theater, is the venue for theater performances. A specific public space, in accordance with the specific system to form a specific “performance” mode, also constitutes a specific mode of creation. In fact, both the mobile theater and the fixed theater have relatively stable basic systems and relatively stable spatial patterns. We can discern the differences in appearance outside the drama stage at a glance, but have we noticed its internal consistency? Therefore, when we discuss two different forms of theater, we are not talking about two theatrical forms with different age functions, nor Discuss some of the different forms of theater, but discuss two forms of theater in different cultural contexts. The tension of Chinese opera’s performance and the tension of the stage can not be separated, and the penetrating power of history and the penetration of language can not be separated. Song and dance is a tradition of Chinese opera and also a reason for the existence of Chinese theater. The generality of the traditional theater is reflected in the coordination of people, including human space imagination and song and dance drama activities.