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作 者:钱激扬[1] Qian Jiyang(School of Foreign Languages,Soochow University,Suzhou 215006,China)
机构地区:[1]苏州大学外国语学院
出 处:《外国文学研究》2024年第3期143-153,共11页Foreign Literature Studies
摘 要:当代剧场的美学取向出现了两个不可思议的悖谬:一是肉身性与媒介化的对立互生,二是在召唤感知的剧场内寻找意义。英国剧作家露西·普雷布尔的《安然事件》巧妙实现了肉身性与媒介性、感官与思考的关联。这部集话剧、音乐剧、舞蹈为一体的制作将美国安然公司财务造假丑闻构作成活泼的跨媒介作品。新闻影像与身体表演形成的跨媒介指涉暗示了荣耀的迷惑性。数字技术打造的动态剧场传递了金融泡沫的上升快感。歌舞、文献片与肉身表演组成的社会动作剧场以间离-情动方式嘲讽了西方胜利者叙事。普雷布尔讲故事与新技术相结合的独特才华完成了跨媒介性与故事的交流。当新媒介元素以博弈的真实闯入肉身表演时,其中包含的游戏式“冒险美学”触发观众审慎思考科技与社会互动中的意义系统重构和定位技术伦理的重要性。The aesthetic orientation in contemporary theatre involves two implausible paradoxes:the opposition and cooperation between corporeality and mediatization,and the quest for meaning in an experiential theatre.British playwright Lucy Prebble ingeniously intertwines corporeality with mediatization and the sensory with the intellectual in her play Enron,a reimagining of the scandalous collapse of an American mega corporation.Through a delightful intermedial production incorporating drama,music,and dance,Prebble presents a harmonious juxtaposition of news images and live performances,revealing the deceptive nature of ostentatious honor.The kinetic theatre,enhanced by digital technologies,effectively conveys the mesmerizing allure of financial bubbles to the audience.Furthermore,the gestic theatre,characterized by A-Affect and constructed through archived videos,song-and-dance,and corporeal movement,satirizes Western narratives of success.Prebble's unique talent of combining storytelling with new technology achieves a seamless exchange between intermediality and narrative.When medial elements as the contesting real intrude into corporeal performances,the resulting playful“aesthetics of risk”prompt spectators to reflect critically on restructuring the system of meaning addressed to the social relations of science and technology and the importance of tech-ethical orientation.
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