后剧作戏剧与后剧作表演  

Postdramatic Theatre and Postdramatic Performance

作　　者： 胡开奇(译)[2] Marvin Carlson;HU Kaiqi

机构地区：[1]纽约市立大学博士生院戏剧系 [2]上海戏剧学院马文 卡尔森中心

出　　处：《戏剧艺术》2020年第2期1-11,共11页Theatre Arts

摘　　要：德国戏剧理论家汉斯-蒂斯·雷曼提出了"后剧作戏剧"的概念。所有"后"术语的一个共性就是拒绝既定传统的某些要素。"剧作"指的是戏剧文本及其历史,而"戏剧"则是指文本在舞台上的呈现。"后剧作戏剧"就是要超越剧作,将表演从文学文本中解放出来。从上世纪初戈登·克雷和德国"导演戏剧",到近年来几位主要国际导演伊沃·范·霍夫、凯蒂·米歇尔、庞奇专克剧团和西格纳剧团的最新作品,其共同点就是对传统戏剧和模仿观念发起挑战,旨在颠覆传统戏剧这一与日常生活和其环境氛围截然分离的虚构体系。It was the German theorist Hans-Thies Lehmann who proposed the concept of postdramatic theatre. A common feature of all"post"terms is the rejection of certain elements in the established traditions. "Drama"refers to the text and its history,while "theater"is defined as the presentation of the text on stage. Therefore,"postdramatic theater"means to transcend the drama,emancipating performance from the shackles of text. By reviewing Edward Gordon Craig and the German"Director’s Theatre"in the beginning of the 20 th century and the recent works of several major international directors-Ivo van Hove,Katie Mitchell,Punchdrunk and Signa,the paper argues that what they have in common is a challenge to the traditional theatre and its concept of mimesis so as to subvert its fictional system,which is completely separated from daily life and its surroundings.

关 键 词：戏剧 表演 后剧作戏剧 汉斯-蒂斯·雷曼 艺术 

分 类 号：J80[艺术—戏剧戏曲]