论沉浸式戏剧本体的美学特征  

The Aesthetic Characteristics of the Ontology of Immersive Theatre

作　　者：齐慧姝[1] 王小龙 QI Hui-shu;WANG Xiao-long(Jilin Academy of Arts,Changchun Jilin 130021;Namseoul University,Tianan Korea 31023)

机构地区：[1]吉林艺术学院,吉林长春130021 [2]韩国南首尔大学,韩国天安31023

出　　处：《吉林艺术学院学报》2024年第4期52-56,共5页Journal of Jilin University of Arts

基　　金：2024年吉林省教育厅社会科学研究项目“公共艺术教育对吉林省文化消费提升的促进作用研究”(JJKH20240610SK)阶段性成果。

摘　　要：沉浸式戏剧作为环境戏剧理论的后现代衍生概念,已成为中国当代戏剧市场的“顶流”,亦是中国现代化戏剧的主要形态之一。当观众进入到一个如真如幻的沉浸式戏剧世界里,主体的我与客体的戏剧之间的关系逐渐模糊,两者之间发生了主客体的交互与转换。即沉浸式戏剧相较于传统戏剧在本体的美学特征上发生了变化,这种变化促使戏剧的一度、二度、三度创作在戏剧本体内部处于不断运动的状态,尤其体现在沉浸式戏剧的文本叙事、戏剧情绪、观演关系三个维度,并分别展现出“非线性”“多维性”“即时性”的独特美学特征。Immersive theatre, a postmodern derivative of environmental theatre theory, has become a dominant form in the Chinese contemporary theatre market and a key format in modern Chinese drama. When audiences step into the immersive world of theatre, the boundary between the subjective "self" and the objective drama becomes blurred, leading to an interaction and exchange between subject and object. Immersive theatre, compared to traditional theatre, exhibits changes in the aesthetic characteristics of its ontology, placing the drama's one-degree, two-degree, and three-degree creations in a state of constant motion. These changes are particularly evident in the three dimensions of narrative structure,dramatic emotions, and audience-performer relationships, showcasing the unique aesthetic traits of "non-linearity," "multidimensionality," and "immediacy."

关 键 词：沉浸式戏剧 戏剧本体 戏剧美学 美学特征 

分 类 号：J801[艺术—戏剧戏曲]