“Scenography”(舞台美术)一词的演变和发展  

The Evolvement and Progress of the Term"Scenography"

作　　者： 李晓曼(译) Arnold Aronson Trans;Li Xiaoman

机构地区：[1]美国哥伦比亚大学 [2]中央戏剧学院舞美系

出　　处：《戏剧（中央戏剧学院学报）》2023年第6期18-33,共16页Drama:The Journal of the Central Academy of Drama

基　　金：2021年度国家社科基金艺术学重大项目“当代中国话剧作品评价体系与质量提升研究*”(项目编号:21ZD13)的阶段性成果。

摘　　要：本文节译自《劳特利奇舞台美术指南》(The Routledge Companion to Scenography)的导言,该书是囊括范围最广、最全面的,有关当前舞台美术发展趋势的原创论文集,书中首次为“scenography”(舞台美术)这个饱受争议的术语确立了一个稳定的表述。本文梳理了“scenography”一词的演变和发展,其线索追溯至亚里士多德的《诗学》,再到布莱希特、阿尔托、斯沃博达,一直延伸至当代的新兴戏剧形式和数字媒体演出。文中论述了舞台美术的转向,将舞台美术视为演出中所有视觉、空间和感官元素的总和,并强调了当今充分发展“舞台美术研究”这一学科的必要性。This article is a translated excerpt from the introduction of The Routledge Companion to Scenography which is the largest and most comprehensive collection of original essays on the current development trends in scenography.The book establishes a stable terminology for a deeply contested term"scenography"for the first time.This article outlines the evolution and development of the term,tracing its line from Aristotle's Poetics down to Brecht,Artaud,and Svoboda,extending to the contemporary forms of theatre and digital media.The article discusses the scenographic turn and regards scenography as the totality of all the visual,spatial,and sensory aspects of performance,emphasizing the necessity of fully developing the discipline of"scenographic studies"today.

关 键 词：舞台美术 约瑟夫·斯沃博达 后台仓 舞台美术的转向 舞台美术家 布拉格四年展 

分 类 号：J813[艺术—戏剧戏曲]