从“风景戏剧”到“视象戏剧”——格特鲁德·斯泰因、约翰·凯奇及罗伯特·威尔逊  

From Landscape Theatre to Visual Theatre——Gertrude Stein,John Cage,and Robert Wilson

作　　者：刘艳卉[1] 

机构地区：[1]上海戏剧学院戏剧文学系

出　　处：《戏剧（中央戏剧学院学报）》2017年第4期57-67,共11页Drama:The Journal of the Central Academy of Drama

基　　金：国家社会科学基金艺术学重大项目"戏曲剧本创作的现状;问题及对策研究"(项目编号:16ZD03)阶段性成果;上海市教育基金会教育创新计划"戏曲叙事特征及剧作思维比较研究"(项目编号:14SG45)的阶段性成果

摘　　要：格特鲁德·斯泰因提出了"风景戏剧"的概念,旨在破除亚里士多德戏剧线性、叙事的、语言的、心理的戏剧模式,但格特鲁德·斯泰因并未在剧作实践上给出理想范本。之后的约翰·凯奇以"偶然"作为创作方法和原则,运用《易经》原则,尝试通过去除创作的主观理性以及语言的理性来实现"景观戏剧"。罗伯特·威尔逊的"视象戏剧"亦可看作是对"景观戏剧"某种层面的一种实现。Gertrude Stein＇s concept of theatre as landscape abolishes the traditional linear, narrative, linguistic and psychological theatrical pattern in Aristotle＇s theatre, but he didn＇t provide an ideal model in her theater practice. Afterwards, John Cage set forth ＂happenings＂ as his method and principle of creation. And meanwhile he, combining with the doctrine of The Book of Changes, attempted to practice the landscape theater by eliminating subjective rationality and rational language. At last, the visual theater proposed and practiced by Robert Wilson on some levels can be regarded as Stein＇s concept of landscape theater on stage.

关 键 词：格特鲁德·斯泰因 风景戏剧 约翰·凯奇 罗伯特·威尔逊 视象戏剧 

分 类 号：J805[艺术—戏剧戏曲]