技术、具身与融合:论中国首部XR数字戏剧《麦克白》  

Technology,Embodiment,and Integration:On China's First XR Digital Drama"Macbeth"

作　　者：叶夏弦 Ye Xiaxian(Beijing Film Academy,Beijing 100091)

机构地区：[1]北京电影学院,北京100091

出　　处：《新疆艺术学院学报》2024年第4期47-53,共7页Journal of Xinjiang Arts University

基　　金：“国家资助博士后研究人员计划”资助(资助编号:GZC20230174)的阶段性成果。

摘　　要：中国首部XR数字戏剧的创作无疑是一次创新与突破,数字技术与传统戏剧的结合探索了戏剧与电影的边界,也改写了观影关系的传统范式,重塑了《麦克白》这一经典戏剧。依托数字技术,身体与虚拟空间以“具身性”联结,在虚拟与现实空间产生了新的“情动”。数字拟像作为“有意味的形式”,提供了虚拟客体,呈现出对现实世界客观性的一种人为的遮蔽和潜在的象征,观众在一种沉浸式的体验中反观自身以及探索与世界的联结性。The creation of China's first XR digital drama is undoubtedly an innovation and a breakthrough.The combination of digital technology and traditional drama explores the boundary between drama and film,rewrites the traditional paradigm of relationship between the film and the audience,and reshapes the classic drama"Macbeth".With the use of digital technology,the body and virtual space are connected in a"embodied"manner,creating new"emotions"between virtual and real spaces.Digital simulation,as a"meaningful form,"provides a virtual object that presents an artificial masking for and potential symbol of the objectivity of the real world.The audience reflects on themselves and explores the connection with the world in an immersive experience.

关 键 词：XR数字戏剧 观演关系 具身性 

分 类 号：J805[艺术—戏剧戏曲] TP391.9[自动化与计算机技术—计算机应用技术]