沉浸性:表演在后现代语境的另一种探讨  

Immersion: An Alternative Discussion of Performance in the Postmodern Context

作　　者：沈嘉熠[1] SHEN Jiayi

机构地区：[1]华东师范大学传播学院

出　　处：《戏剧艺术》2022年第5期1-9,共9页Theatre Arts

基　　金：国家社科基金艺术学一般项目“中国沉浸式戏剧研究”(20BB028);上海市社科基金项目“当代中国沉浸戏剧研究”(2020BWY021)的阶段性成果。

摘　　要：伴随着戏剧范式从文本到事件的转向,表演从以叙事为核心中跳脱出来,游走于戏剧与生活的边界,生发出观众与演员互为主体的沉浸性。这是一种过程的表演,是由观众与演员共同完成的、幻与戏的结合。沉浸性表演中观众的身体感知引发深刻的体验,使他们成为主体而参与,但戏剧时空又给观众提供弥散的场景,使他们迷失其中。在身体感知与弥散幻境之间,观众与场景(包含演员)产生“看”与“被看”的关系,身体的核心与场景的松散因“凝视”而共生,沉浸由此发生。Along with the shift of the theatrical paradigm from text to event, performance breaks away from narrative, which was once taken as the core, and traverses the boundary between theatre and life, giving rise to the immersion of audience and actors as mutual subjects to each other. This is a kind of process performance, a combination of illusion and theatre completed by audience and actors. In immersive performances, the audience’s perception triggers deep feelings, leading them to participate as the subjects, but theatrical time and space provide them with scattered scenes, in which they feel lost. With perception and illusion, the relationship between the audience and the scenes(including actors) is “seeing” and “being seen”, and thus immersion occurs through the symbiosis of the body core and the loose scenes as a result of “gazing”.

关 键 词：沉浸性 身体感知 戏剧事件 凝视 

分 类 号：J80[艺术—戏剧戏曲]