寻找“正确的”剧场性——中国话剧“剧场性”观念概评  

Looking for the“Correct”Theatricality:General Review of the Concept of“Theatricality”in Chinese Drama

作　　者：方桂林 Fang Guilin(the Department of Dramatic Literature,The Central Academy of Drama,Beijing,102209)

机构地区：[1]中央戏剧学院戏剧文学系,北京102209

出　　处：《民族艺术研究》2024年第4期57-63,共7页Ethnic Art Studies

基　　金：中央戏剧学院2024年度教育教学改革项目“《艺术概论》课程教学内容与教学质量提升研究”(项目编号:JG2024007)的阶段性研究成果。

摘　　要：中国话剧的“剧场性”观念在新时期之前主要指涉的是舞台性,即合乎剧场与舞台的特征。新时期以来,剧场性的内涵与假定性、交流性、表演性、物质空间、观演关系紧密联系在一起,剧场性与文学性的矛盾与争论也在这个时候开始显现。在“后戏剧剧场”的语境中,剧场性是“文本之外的剧场过程”。故此,中国话剧“剧场性”观念的变迁具有历时性,要在历史与当下的对比中把握主流。同时,剧场性既是一种主观的美学追求,又是一种客观属性。观众对于剧场性的感知是多种因素综合作用的结果。“正确的”剧场性没有一个恒定的标尺,是“用适合的演剧方式来奉献戏剧作品”,是在主观与客观里寻求融合。Before the New Era,the concept of“theatricality”in Chinese drama mainly referred to the stage,that is,the characteristics of the connection between theater and the stage.Since the New Era,the connotation of theatricality has been closely linked to assumption,communication,performativity,material space,and the relationship between spectators and performers,and the contradictions and debates between theatricality and literature also emerged at this time.In the context of“post-drama theater”,theatricality is“the process of theater outside the text”.Therefore,the change of the concept of“theatricality”in Chinese drama is diachronic,and the mainstream should be grasped in the comparison between history and the present.At the same time,theatricality is both a subjective aesthetic pursuit and an objective attribute.The audience’s perception of theatricality is a result of a combination of various factors.There is no constant yardstick for the“correct”theatricality;rather,there are“dedication a theatrical work in a suitable way”and integration between subjectivity and objectivity.

关 键 词：中国话剧 剧场性 舞台性 张力 场 符号学 

分 类 号：J802[艺术—戏剧戏曲]