中西戏剧艺术中的"空"理论--兼论王晓鹰版《理查三世》"空"理论之实践  

"Emptiness"in Chinese Opera and the Western Theatric Art and Its Practice in Richard Ⅲ Directed by Wang Xiaoying

作　　者：金梦 JIN Meng

机构地区：[1]中央戏剧学院导演系,北京100006

出　　处：《外国语文》2023年第3期51-56,共6页Foreign Languages and Literature

摘　　要：王晓鹰导演的话剧《理查三世》于2012年在英国莎士比亚环球剧院上演并取得了巨大成功。本文聚焦戏剧中的"空"问题,比较彼得·布鲁克与中国戏曲的相关论述,并将其用于分析王晓鹰版《理查三世》的导演创作特点,以期在中西方文化交流背景下,为中国当代戏剧呈现如何创新提供另一种思路。彼得·布鲁克在《空的空间》中对戏剧本质的看法在某种意义上将戏剧回归到最原始的空间美学状态,这体现在他对莎士比亚戏剧精神的把握,尤其是在莎戏排演中对时空的把握和演出与中国戏曲的时空美学观有异曲同工之妙:充满了"假定性"。The Richard Ⅲ directed by Wang Xiaoying,staged at Shakespeare's Globe Theatre in 2012,has been a tremendous success.This paper focuses on the notion of"emptiness"in drama,compares Peter Brook's claims with theories in Chinese drama,and uses the findings from this comparison to analyze Wang Xiaoying's production of Richard Ⅲ.It is hoped that this paper could inspire innovations in the production of contemporary Chinese dramas whilst cultural exchanges between China and the West are increasingly intense.In his The Empty Space,Peter Brook claims that the essence of drama should be understood within the framework of the aesthetics of original space.It is worth noting that Peter Brook's understanding and presentation of time and space in the rehearsal of Shakespeare's plays is echoed with the aesthetic representations of time and space in Chinese drama.Their similarities lie in that both of them seemed to be "presumptive" and that both of them demonstrate the time and space of the stage through performing arts.

关 键 词：《空的空间》 "高度假定性" 王晓鹰 理查三世 

分 类 号：I23[文学—中国文学]