后现代主义戏剧导演理论(上)  

Theory of Directing Postmodem Theatre(partⅠ):The Director Uses Semiotics(abridged)

作　　者：乔恩.惠特摩尔 范益松 

出　　处：《戏剧艺术》1999年第2期18-29,共12页Theatre Arts

摘　　要：后现代戏剧对舞台导演提出了新的独特的要求。它更加具有实验意义,组成一次演出的界限也有了变化。语言不再是交流的主要方式,音乐、音响、动作,以及其它视觉元素被作为赋予意义的手段进行探索。本文论述了后现代戏剧导演工作中的主要交流系统:语言,视觉,听觉,嗅觉,以及形体等等。并且还检视了导演可以用来赋予交流的意义的二十个符号系统。Postmodern theatre places new and novel demanels on stage direcfors. It is more experimental, and the boundaries of what constitntes a performance have shifred. Dialogne is no longer always the primary mode of communication, and music, sonnd, morement, and other visual elements are being explored as ways to make meaning onstage. The essay identifies the Key communications systems at work in the theatre: linguistic, visnal, anrul, olfactoral, and Physical. Futher, it pinpoints and examines tuenty Semiotic Sign-systems that can be manipulated by directors to bring about meaningful communication.

关 键 词：后现代主义戏剧 符号学 现代主义者 符号系统 导演理论 观众接受 戏剧经验 交流系统 信码 剧本 

分 类 号：J811[艺术—戏剧戏曲]