20世纪初西方先锋派戏剧的语言变革与参与性观演关系  

Language change and relationship between acting and speculating by avant-garde in the 20th century

作　　者：罗成雁[1] 

机构地区：[1]云南行政学院,云南昆明650111

出　　处：《河北师范大学学报（哲学社会科学版）》2017年第2期87-92,共6页Journal of Hebei Normal University(Philosophy and Social Sciences)

摘　　要：20世纪初,未来主义、达达主义、超现实主义、残酷戏剧等西方先锋派戏剧的理论和实践,从变革戏剧语言入手,致力于破除现实主义"第四堵墙"旁观者观演关系结构模式的钳制。先锋派戏剧的理论与实践试图通过解放语言、自动写作等方式的变革,打破再现式语言的逻辑关联和意义的生成机制。同时,先锋派戏剧利用语言的物质性特征,"发明"戏剧语言,充分拓展各类戏剧语言的表现力。因此,先锋派戏剧打破剧本中心地位,力图探寻一种生成性、开放性的观演关系组织方式,破除"第四堵墙"旁观者二分的观演关系建制。20世纪初先锋派戏剧的语言变革实践,开掘了语言的多种可能性,对探寻现代参与性、介入性艺术和反思当代视觉建制有着重要的意义。At the early 20th century, the theories and practices of Avant-garde theaters, including the futurism, Dadaism, surrealism and theatre of cruelty, are all mixed for the reform of theater language in order to break the fourth wall institutions or the mode of the relationship between acting and viewing. By means of language emancipation and automatic writing, they try to break the logical association of language with the mechanism of representation theater. At the same time, the avant-garde theater explores the material characters and languages of theater. The avant-garde theater of the early 20th century excavates the possibility of theater language.

关 键 词：先锋派戏剧 语言变革 参与性观演关系 

分 类 号：I106.3[文学—世界文学]