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20世纪初,未来主义、达达主义、超现实主义和残酷戏剧等西方先锋派戏剧的理论与实践,致力于变革19世纪末情节剧和现实主义戏剧有机情节编制旁观者的观演关系结构模式。先锋派戏剧以震惊性事件,强调观众当下的在场性,将观众从有机情节的封闭性和区隔中解放出来。他们以震惊性事件的并置、当下的发生,破坏了有机情节的一致性和对观众感知的编制。如此,先锋派戏剧成为一场观众、演员、角色共同参与的游戏,以破坏性为策略,不断打破旁观者的观演关系建制,不断地探寻和生成新的感觉经验。先锋派戏剧打破了观众和演员、角色的位置区隔,使演员、观众摆脱位置主体的束缚,成为流动的、生成着的事件参与者。20世纪初的先锋派戏剧事件通过对有机情节编制的变革,试图建立一种参与性的观演关系,是参与性、介入性美学的重要探索。
At the beginning of the 20th century, theories and practices of western avant-garde plays, such as futurism, dadaism, surrealism and cruel drama, were devoted to changing the structure of the spectator-relational structure of onlookers in organic plots of dramatic episodes in the late 19th century. Avant-garde drama with shocking events, emphasizing the audience’s current presence, the audience from the organic plot of the closed and separated from. Their juxtaposition of shocking events, the immediate occurrence, undermined the consistency of the organic plot and the establishment of the perception of the audience. In this way, avant-garde drama becomes a game in which spectators, actors and characters participate together. By destructive tactics, the avant-garde drama continually breaks the spectator’s observational relationship and continually explores and generates new sensory experience. Avant-garde drama broke the audience and actors, the role of the location of the division, the actors, the audience out of the shackles of the main body of the position to become mobile, the event participants generated. Avant-garde dramatic events in the early 20th century attempting to establish a participatory relationship between audience and performing through the transformation of compiling organic plots are important explorations of participatory and interventional aesthetics.