从具身性理论重思环境戏剧的观众参与  

Rethinking about the Audience Participation in Environmental Theater from the Perspective of Embodiment

作　　者：邓菡彬 DENG Hanbin

机构地区：[1]海南大学人文传播学院

出　　处：《戏剧艺术》2020年第3期30-38,共9页Theatre Arts

基　　金：国家社会科学基金艺术学重大项目“当代欧美戏剧前沿理论研究”(项目编号:18ZD06);文化部艺术学项目“国际‘表演转向’思潮和作为新兴交叉学科的‘表演’之人文机制研究”(项目编号:16DA03)的阶段性成果。

摘　　要：一套理论话语和实践手段在“知识”旅行中会面临跨文化的接受和转化。时间的沉淀和新知识的涌现,使得人们有可能重新认识某些曾经水土不服的思想,比如环境戏剧。从国内环境戏剧实践中被忽视的演员问题入手,进行知识考古和历史梳理,然后从镜像神经元的发现中审视表演美学对具身性的认知和理解,可启发人们重新思考中国观众有可能接受什么样的具有思想性的观众参与。A set of theoretical discourse and practical means have to face intercultural acceptance and transformation in its“knowledge”travel.With the precipitation of time and the emergence of new knowledge,it is possible for us to have a new understanding of some ideas that were once not acclimatized,such as the environmental theater.Starting from the problem of neglecting actors in the practice in China,this paper conducts a review on the history of environmental theater,by means of examining it with the discovery of mirror neurons,understanding of embodiment in performance aesthetics,and rethinking about what kind of meaningful audience participation the Chinese audience may accept.

关 键 词：环境戏剧 谢克纳 观众参与 镜像神经元 具身的思想 

分 类 号：J80[艺术—戏剧戏曲]