当下与“根茎”化:2019年法国剧场艺术演出综述  

The Present and“Rhizome”--A Review of the 2019 French Theatrical Art Performance

作　　者：张岩 Zhang Yan

机构地区：[1]中央戏剧学院

出　　处：《戏剧（中央戏剧学院学报）》2020年第2期45-54,共10页Drama:The Journal of the Central Academy of Drama

摘　　要：在法国,针对当代剧场艺术的研究与实践是多元并存的。在2019年法国法兰西大区的"莫里哀之月"戏剧节、"我们不会去阿维尼翁"戏剧节和巴黎秋季艺术节中,剧场艺术创作呈现出彼此不同而又相互滋养、沟通的样态。德勒兹和加塔利在《千高原》一书中为描述后现代主义文化生态样貌而总结了"根茎"(la rhizome)这一哲学概念。在2019年的法国剧场艺术演出中所呈现的多元化、沟通性的样态正符合这一"根茎"化的特征。而在"根茎"化的背后,是法国多种文化价值观的相互尊重与权利均等。In France,the research and practice of contemporary theater art coexist in diversity.Among the festival Le Mois Molière,the Nous n’irons pasàAvignon and Festival d’AutomneàParis in the region of France?le de France in 2019,the art creations presented not only a different,but also a nourishing and communicating feature with each other.Gilles Deleuze and Félix Gattari summarized the philosophical concept of"la rhizome"in the book Mille plateaux to describe the ecological appearance of postmodernism culture.The diversified and communicative appearance presented in the French theater in 2019 was in line with this"rhizome"character.Behind the"rhizome",it is the respect and equality of power between various cultural values in France.

关 键 词：法国当代剧场艺术 根茎 后现代主义 解构主义 多元化 戏剧节 

分 类 号：J83[艺术—戏剧戏曲]