作为画框的“第四堵墙”与旁观者观看模式的确立  

作　　者：罗成雁[1] Luo Chengyan;

机构地区：[1]云南行政学院文化与科技教研部

出　　处：《文化研究》2016年第4期207-223,共17页Cultural Studies

基　　金：2016年度云南省哲学社会科学艺术科学规划立项一般项目“云南省文化创意产业可参观性的生产研究”(A2016YBZ010)的阶段性成果

摘　　要：戏剧和剧场普遍的＂第四堵墙＂模式,是在19世纪末随着写实主义戏剧理论和剧场实践才逐步确立下来的。＂第四堵墙＂作为画框,为细节真实地再现社会画面提供了表征典型化运作的空间。写实主义戏剧在塑造完美图像的旁观者过程中,改造了文艺复兴时期的镜框式舞台剧场。具有区隔功能的＂第四堵墙＂正式确立,并在一系列空间的部署中建立了封闭的、二分的观众/演员、观看/行动的象征性位置。于是,在写实主义＂第四堵墙＂的镜式反映之中,观众、演员均与角色处于双重认同的运作之中,甚至倾向于对日常世界意识形态的再认同。观众,乃至演员,均在＂第四堵墙＂的视觉装置中,成为意义生成、行动乃至自己生活世界的旁观者。而且,在剧场建制、电影院和电视屏幕等装置中,＂第四堵墙＂及其功能逐渐完善并传播开来,成为最自然的视觉装置。＂The Fourth Wall＂ was built up with the theory and practice of Realistic Theater at the end of 19th. AS a picture frame, ＂The Fourth Wall＂ provided a real detailed description space for typical representation. With the representation of perfect image of social life, Realistic Theater molded spectator and changed the Proscenium Theatre of Renaissance. And ＂The Fourth Wall＂ with the function of distinction was formally established. The space deployment of ＂The Fourth Wall＂ distinguished the symbolic character position of the spectator and actor, seeing and acting. Thus, with the mirror representation of the ＂The Fourth Wall＂ in Realistic Theater, both spectator and actor double identified with the character /image, and also re-identified with the ideology of daily life. As a result, spectator and actor were disciplined by this vision apparatus of ＂ The Fourth Wall＂ and became a real spectator of the meanings, action and the world of life. Besides, ＂The Fourth Wall＂ and these functions were spread in the theater institution, cinema apparatus and the screen of television after the end of 19th, and became a most natural visual apparatus.

关 键 词：写实主义戏剧 第四堵墙 画框 旁观者 

分 类 号：J812[艺术—戏剧戏曲]