当代“剧场共同体”建构实践反思  

Reflection on the Construction Practice of Contemporary“Theatre Community”

作　　者：孔德罡[1] KONG Degang

机构地区：[1]南京师范大学文学院

出　　处：《戏剧艺术》2024年第2期98-110,共13页Theatre Arts

摘　　要：学界普遍以“剧场”概念来阐释主体间性与共同体问题,但由艺术家(文本创作者与表演者)、观众与剧场组成的“剧场共同体”尚未在剧场领域实现。从观众(读者)角度的接受美学维度看,剧场中各主体之间关系的复杂性被忽略。从艺术家(剧作家与表演者)角度的身体和意向性维度看,剧场的实质性未能得到足够支撑。而从“共在/共—显”期待之下的剧场实践维度看,当代剧场实践对对话情境的构建还不够完善彻底。面对当代剧场无法与观众实质性发生对话、尚未构建出和谐共生的“剧场共同体”的现状,创作者应正视剧场艺术乃至社会现实层面变革的复杂性和必然性,进一步提升对话的可讨论性,增强情感共鸣。Researchers often utilize the concept of“theatre”to interpret questions about intersubjectivity and community.However,the“Theatre Community”envisioned as a network connecting artists(playwrights and performers),audience,and the theatre itself,remains unrealized in practice.From the perspective of reception theory,the complexity of relationships among various subjects within the theatre is ignored.Conversely,from the physical and intentional dimensions of artists(playwrights and performers),the substantive nature of theatre is not fully captured.Furthermore,from the perspective of the anticipated“co⁃existence/co⁃appearance”in theatrical practice,contemporary theatre practice is not yet sufficiently thorough in constructing dialogue situations.In response to the current situation where contemporary theatre struggles to engage in substantive dialogue with the audience and build a harmonious,symbiotic“Theatre Community”,creators must confront the complexity and inevitability of change in theatre art and even social reality.This includes enhancing dialogue accessibility and strengthening emotional resonance.

关 键 词：剧场共同体 接受美学 身体间性 对话情境 政治美学 

分 类 号：J80[艺术—戏剧戏曲]