“Theatricality”的历史维度和当代用法  

The Historical Dimension and Contemporary Usage of Theatricality

作　　者：  吴冠达(译) 王慧敏(译) Thomas Postlewait;Tracy C.Davis;WU Guanda;WANG Huimin

机构地区：[1]美国华盛顿大学西雅图分校戏剧学院 [2]美国西北大学戏剧系 [3]杭州师范大学艺术教育研究院 [4]英国南安普顿大学人文学院

出　　处：《戏剧艺术》2022年第2期1-18,共18页Theatre Arts

基　　金：国家社会科学基金艺术学重大项目“当代欧美戏剧理论前沿问题研究”(18ZD06)阶段性成果。

摘　　要：尽管“名不正言不顺”,但是我们拒绝为“剧场性”(theatricality)下定义,因为“剧场性”的辽阔疆域不为任何单一的定义、时代或实践所限。对“剧场性”进行阐释会伴随哪些问题?一方面,必须探究“剧场性”这一当代观念如何与之前的概念一脉相承。另一方面,既要探究“剧场”(theatre)一词的本义及其隐喻的涵义,也要分析最近两个世纪的观念和实践如何影响我们对“剧场性”的理解。我们反对在今天的批评话语中,不尊重历史和事实随意使用“剧场性”这一概念,同时也希冀以相互联系、系统的阐释代替对“剧场性”东拼西凑的解释。While it may seem necessary,our study refuses to supply a meaning for theatricality because the terrain of theatricality cannot be confined by any singular definition,period,or practice.This paper identifies the interpretive possibilities and critical problems that pertain to the idea of theatricality.On the one hand,it investigates how the contemporary idea of theatricality engages with earlier concepts.On the other hand,we examine the word theatre itself and its metaphoric connotations,as well as how ideas and practices of the last two centuries have shaped our understanding of theatricality.We object to the ahistorical and laissez-faire uses of the concept of theatricality in critical discourse today.We hope to offer interconnected and systematic explanations of the concept instead of a composite interpretation.

关 键 词：剧场性 剧场主义 元剧场 剧场符号学 操演性 

分 类 号：J80[艺术—戏剧戏曲]