现象学视域下沉浸式戏剧的感知模式——以“只有河南·戏剧幻城”为例  

The Perception Mode of Immersive Theater from a Phenomenological Perspective——A Case Study of“Unique Henan-Land of Drama”

作　　者：王天璋 曹华强 Wang Tianzhang;Cao Huaqiang(School of Arts,Zhengzhou Technology and Business University,Zhengzhou 451400)

机构地区：[1]郑州工商学院艺术学院,郑州451400

出　　处：《西部学刊》2024年第21期100-103,共4页Journal of Western

基　　金：河南省高校人文社会科学研究项目“红色文化网络传播路径重构研究”(编号:2024-ZDJH-321)的阶段性成果。

摘　　要：沉浸式戏剧是当代全新的戏剧观演形式,注重对观演者的感知进行调动,是对传统戏剧模式的颠覆。借鉴海德格尔、梅洛-庞蒂的现象学研究方法,选取“只有河南·戏剧幻城”为案例,对其感知模式进行针对性分析。研究发现,“只有河南·戏剧幻城”虽具有沉浸式的戏剧形式,但同时也注重明确的价值传达。通过调动观演者的“视域结构”、结合具身经验激活“情境空间”,确认了戏剧审美主体的在场性。在一种解蔽式的戏剧体验模式中,重构了一种更为丰富、开放的中原文化意义。Immersive theater is a brand-new form of contemporary theatrical performance and viewing,focuses on mobilizing the audience’s perception,representing a disruption of the traditional theatrical models.Drawing on the phenomenological research methods of Heidegger and Merleau-Ponty,this study selects“Unique Henan-Land of Drama”as a case study to specifically analyze its perception mode.The findings reveal that while“Unique Henan-Land of Drama”adopts an immersive theatrical form,it also focuses on delivering clear values.By mobilizing the audience’s“horizon structure”and combining embodied experiences to stimulate the“situational space”,it confirms the presence of the theatrical aesthetic subject.Within a de-concealed theatrical experience mode,it reconstructs a richer and more open meaning of Central Plains culture.

关 键 词：沉浸式戏剧 “只有河南·戏剧幻城” 具身感知 意义重构 

分 类 号：J892[艺术—戏剧戏曲]