纸剧场中的木偶戏——论尤里·布图索夫对契诃夫戏剧的再创作  

Puppetry in the Cardboard Theatre:On Yuri Butusov's Re-creation of Chekhov's Plays

作　　者：姚学松 YAO Xuesong

机构地区：[1]南京大学文学院

出　　处：《戏剧艺术》2024年第6期43-53,共11页Theatre Arts

摘　　要：契诃夫的戏剧遗产是当代俄罗斯剧场的灵感源泉和创作典范。这其中,俄罗斯导演尤里·布图索夫因对契诃夫戏剧的独特阐释而备受关注。在执导契诃夫的戏剧作品时,布图索夫吸收了俄国草台戏的游戏精神,建构了虚构扭曲的游戏空间与被纸板剧场遮蔽的真实空间。布图索夫的演员是空心的木偶演员,在演出中试图通过游戏与娱乐来填充虚无的空间,却暴露了人类存在的脆弱性与不稳定性,并被迫在剧场的空虚中向下坠落,直面残酷真实的生活本质。通过对契诃夫剧作的拆解和重构,布图索夫重思了现实与虚构、剧场与真实、超越与坠落之间的紧张关系,并由此展示了剧场艺术的多种可能与多重维度。Chekhov's dramatic legacy is a source of inspiration and a creative model for contemporary Russian theatre.Russian director Yuri Butusov is noted for his unique interpretations of Chekhov's plays.In directing these plays,Butusov absorbed the playful spirit of balagan,constructing fictional and distorted play spaces,as well as real spaces obscured by the cardboard theatre.Butusov's actors are hollow puppets,striving to fill their performances with play and entertainment,ultimately exposing the fragility and precariousness of human existence.Thus,they are forced to descend into the emptiness of the theatre and confront the cruel and true nature of life.By deconstructing and reconstructing Chekhov's plays,Butusov rethinks the tension between reality and fiction,theatre and truth,transcendence and fall,showcasing the many possibilities and multiple dimensions of theatrical art.

关 键 词：尤里·布图索夫 契诃夫 草台戏 木偶 真实 

分 类 号：J80[艺术—戏剧戏曲]