感知的政治与批判的美学:21世纪欧洲剧场的政治美学路径概览  

Politics of Perception and Critical Aesthetics:An Overview of the Political Aesthetic Paths of the European Theatre in the 21st Century

作　　者：王曦[1] WANG Xi

机构地区：[1]复旦大学马克思主义研究院

出　　处：《戏剧艺术》2023年第3期113-122,134,共11页Theatre Arts

基　　金：上海市教育委员会和上海市教育发展基金会“晨光计划”资助。

摘　　要：21世纪的欧洲剧场艺术与左翼政治美学在理论与实践层面互动频仍。区别于20世纪启蒙式政治剧场的介入方案,21世纪的欧洲剧场依循政治美学路径,构想替代性的社会联合形式,以实现身体姿态的感性,再次完成与空间、时间的重新配置。欧洲剧场由此经历了从审美体验到公共机构的职能转变,它尝试走出布莱希特与奥古斯都·波瓦为代表的传统政治剧场的“教育学”模式,从唤起审美专注的“黑匣子”向开放式的全球化机构转变。剧场政治效果的传达不再依赖理性意识与政治行动,却诉诸“感知的政治”与“批判的美学”路径,通过剧场表演的感知变革而重构公共领域,以唤起集体的政治想象力。European theatre in the 21st century interacts frequently with left⁃wing political aesthetics in theory and practice.Differing from the intervention scheme of enlightenment political theatre in the 20th century,European theatre in the 21st century follows the path of political aesthetics and conceives alternative forms of social unity in its attempt to realize the perceptual re⁃distribution of body gesture and to achieve the reconfiguration of space and time.Thus European theatre undergoes a functional transformation from an aesthetic experience to a public institution.It tries to break away from the“pedagogy”mode of the traditional political theatre represented by Brecht and Augustus Bova in its shift from the“black box”that arouses aesthetic attention to an open globalized institution.The communication of political effects aroused by theatre no longer relies on rational consciousness or political action,but resorts to the path of“politics of perception”and“critical aesthetics”.Theatre performance reconstructs the public sphere through the perceptual reforms so as to arouse collective political imagination.

关 键 词：欧洲剧场 政治美学 争胜 歧见 可感性分配 

分 类 号：J80[艺术—戏剧戏曲]