从“空的空间”到“特定场域”:论二十世纪剧场空间实践之转向  

From "Empty Space" to Site-specific Theatre:On the Changing of the Idea of Theatre Space in the Twentieth Century

作　　者：陈恬[1] CHEN Tian

机构地区：[1]南京大学文学院

出　　处：《戏剧艺术》2021年第5期39-53,共15页Theatre Arts

基　　金：国家社会科学基金艺术学重大项目“当代欧美戏剧研究”阶段性成果,项目编号为19ZD10;中央高校基本科研业务费专项资金资助,项目编号为010114370121。

摘　　要：1968年,彼得·布鲁克呼吁"空的空间",理查·谢克纳倡导"环境戏剧",使空间之于剧场实践的意义在新的语境中得到重新认识。尽管这两个概念都因其拒绝传统剧场建筑的决然姿态,而被视为1960年代先锋实验的代表,实际上却代表了两种不同的空间实践方向。"空的空间"是对现代主义剧场空间实践的总结,而"环境戏剧"则是后现代剧场空间实践的先声,直接导向1980年代以后的"特定场域"剧场。从"空的空间"到"特定场域",可以概括二十世纪剧场空间实践的转向。In 1968,Peter Brook called for "empty space" and Richard Schechner advocated"environmental theatre",which made the significance of space in theatre practice rediscovered in a new context.Although both concepts were regarded as representatives of the Avant-garde experiments in the 1960 s for their resolution to reject traditional theatre structure,they actually represented two different directions in understanding theatre space.While "empty space" was a summary of the modernist functional concept on theatre space,"environmental theater" was the precursor of postmodern concept on it,which directly led to the "site-specific" theatre after the1980 s.The change from "empty space" to site-specific theatre can summarize the changes on the idea of theatre space in the twentieth century.

关 键 词：剧场空间 空的空间 环境戏剧 特定场域 

分 类 号：J80[艺术—戏剧戏曲]