包豪斯剧场的潜能与一段中国实践  

Theatrical Potentials of Bauhaus and a Related Chinese Practice

作　　者：周诗岩[1] ZHOU Shiyan

机构地区：[1]中国美术学院艺术人文学院

出　　处：《建筑学报》2019年第12期96-105,共10页Architectural Journal

摘　　要：通过回溯包豪斯自身固有的剧场成分,切近包豪斯理念结构的核心,论证其超越专业化艺术院校或者建筑设计院校的宏大社会抱负;同时重新反思中国"现代设计"的发端期对包豪斯的不同理解和借鉴,进而聚焦黄作燊对包豪斯理念的引介,以及他与舞台相关的一段特殊实践,据此探讨包豪斯抛给未来的重要议题:由广义的"建造"和"舞台"撑开的巨大张力,如何帮助创作者超越职业化的工作边界,去构想一项将美学与政治、智性力量与社会情感、技术潜能与伦理选择重新结合起来的事业的可能性?By reviewing the innate theatrical component of Bauhaus to approach to the core of the structure of the Bauhaus ideal, this paper explicates its grand social ambitions beyond professionalized art schools or architectural schools. In the meantime, it ref lects on various understandings and references to Bauhaus in the early years of "modern design" in China. By emphasizing on Huang Zuoshen’s introduction of Bauhaus and his unique practice related to stage design, it delves into a crucial question raised by Bauhaus for the future: with distinctive tensions between generalized "construction" and "stage" in place, how architectural practitioners can be helped to cross professional boundaries to conceive the possibilities of an enterprise combining aesthetics and politics,rationality and social emotions, and technical potentials and ethical choices.

关 键 词：包豪斯理念 潜能 剧场实践 先锋派 黄作燊 中国现代建筑教育 

分 类 号：TU242.2[建筑科学—建筑设计及理论]