重建叙事:新时期以来小剧场戏剧节的发展与嬗变  

Narrative Reconstruction:The Development and Transformation of the Experimental Theatre Festival Since the New Period

作　　者：杨子 YANG Zi

机构地区：[1]上海艺术研究中心

出　　处：《戏剧艺术》2024年第6期158-170,共13页Theatre Arts

摘　　要：新时期以来,小剧场戏剧节完成了20世纪80年代“去政治化”的美学转向,20世纪90年代“物理化”的生存叙事和市场转向,以及21世纪的多元发展和“再政治化”的主流回归,在不同的社会发展阶段通过重建叙事,逐步形成自身的文化主体性。小剧场戏剧内嵌于中国社会文化结构中,呈现出内涵的多义性和流动性,从聚焦创作题材和艺术形式的实验性探索转向以观众为中心,以市场为主导的大众文化发展路径,作为展演平台的小剧场戏剧节在艺术自律、国家文化机制和资本力量的博弈中形成从小众艺术到大众娱乐文化兼具、实验性空间与功利经营性空间并存的多元文化图景。Since the new period,the Experimental Theatre Festival has undergone several key transformations:the aesthetic turn of de-politicization in the 1980s,the focus on physical survival narrative and market shift in the 1990s,and the diversified development and mainstream return of re-politicization in the 21st century.At each stage of social development,it gradually forms its own cultural subjectivity through narrative reconstruction.Embedded in the Chinese social and cultural structure,Experimental theatre drama turns from the experimental exploration of creation themes and art forms to the audience-centered,market-led mass culture with the ambiguity and mobility of connotation.In the interaction with artistic self-discipline,national cultural mechanism,and capital power,the Experimental Theatre Festival forms a multi-cultural picture combining high art with mass entertainment culture,with a juxtaposition of experimental space and utilitarian business space.

关 键 词：小剧场戏剧节 小剧场戏剧 重建叙事 回归主流 

分 类 号：J80[艺术—戏剧戏曲]