重影乌托邦的时间迷宫——论陆帕戏剧导演艺术中的时间美学  

The Time Labyrinth of Utopia and Its Double:On the Aesthetics of Time in Lupa's Art of Directing

作　　者：章文颖[1] ZHANG Wenying

机构地区：[1]上海戏剧学院导演系

出　　处：《戏剧艺术》2023年第3期144-157,186,共15页Theatre Arts

基　　金：上海市教育发展基金会和上海市教育委员会“曙光计划”资助项目“现代德语戏剧美学与创作实践中的批判精神研究”(20SG49);上海戏剧学院“华山英才支持计划”(HS202309)的阶段性成果。

摘　　要：时间是克里斯蒂安·陆帕戏剧导演艺术中一个重要的创作元素。主观时间与客观时间相对,是主体心灵中的内时间意识。陆帕比一般艺术家有着更为敏锐而明确的主观时间的体验和创造意识。在导演创作中,他的时间美学形成了一系列鲜明的艺术表征,用多种手段建构起时间的迷宫。他调度时间的艺术旨归在于深度打开主体的内在知觉,使其进入活生生的哲学意义上的“生活世界”。他的戏剧是探究生活和生命真相的认知场,对人类心灵的剖析和生命体验的表达深刻而极致。然而,对中国观众来说,陆帕的作品需要在客观时间和主观时间之间找到平衡,才能兼顾艺术表达的特异性和观众普遍的接受度,取得好的效果。Time is an important compositional element in Krystian Lupa's art of theatre directing.Subjective time,as opposed to objective time,is the inner time consciousness in the subject's mind.Lupa's consciousness to experience and to create subjective time is acuter and clearer than many other artists.His aesthetics of time is embodied in his directing creation,forming a series of distinctive artistic characteristics and building a time labyrinth through various means.Artistically,the purpose of his aesthetics of time lies in opening up to the depths of the subject's inner perception and making the subject enter the living Lebenswelt.His theatre is a cognitive field to search for the truth of living and life,which is extremely profound in the analysis of human soul and the expression of life experience.However,for Chinese audiences,Lupa needs to strike a balance between objective time and subjective time in his works so as to both retain the uniqueness of his artistic expression and to win the general audience acceptance and favorable effects.

关 键 词：陆帕 戏剧 导演艺术 时间美学 

分 类 号：J80[艺术—戏剧戏曲]