彼得·布鲁克:当代西方实验剧场中的莎剧改编  

Peter Brook and Shakespearean Adaptations in Experimental Theaters

作　　者：陈红薇[1] 李长利 

机构地区：[1]北京科技大学外国语学院

出　　处：《戏剧（中央戏剧学院学报）》2017年第5期68-79,共12页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金项目"战后英国戏剧中的莎士比亚"(项目编号:10BWW025)的阶段性成果

摘　　要：作为西方最著名的戏剧导演之一,彼得·布鲁克既是一位极具时代色彩的剧场艺术家,也是一位莎剧导演大家:从1947年的传统版《暴风雨》,到1956年负有政治色彩的《暴风雨》,1968年后现代版《暴风雨》,直至1990年的土著版《暴风雨》,布鲁克一次次深入莎剧文本的肌体,以"空的空间"、"‘0’度剧场"、"无语境创作"等戏剧理念,在剧场空间掀起无限的想象张力。且不论其戏剧艺术在实验之路上走的多远,其终极目的不离"诠释"莎剧这一根本,这不仅使他与当代莎剧改写最终不同,也使其莎剧导演史成为莎士比亚在当下存在的一个缩影。As a great stage director in the west, Peter Brook is not only famous for his experimental art of theatre, but also for his productions of Shakespeare. Represented by his versions of The Tempest in 1947, 1956, 1968 and 1990, Brook goes into the depth of the Shakespearean texts, creating an infinite space of imagination by relying on his dramatic practice of ＂the Empty Space＂, ＂theatre of the zero＂ and ＂working without context＂. No matter how experimental he is in art of theatre, his ultimate goal is to rediscover Shakespeare and find the oresence of the bard in our aide.

关 键 词：彼得·布鲁克 四版《暴风雨》 西方实验剧场 莎剧改编 

分 类 号：J805[艺术—戏剧戏曲]