当代剧场的符号与精神实验——肢体剧场《樱桃园》的得失  

Symbolic and Spiritual Experiments in Contemporary Theatre--The Gains and Losses of the Physical Theatre The Cherry Orchard

作　　者：杨小雪 Yang Xiaoxue

机构地区：[1]浙江传媒学院

出　　处：《当代舞蹈艺术研究》2023年第4期40-46,共7页Contemporary Dance Research

摘　　要：王媛媛导演的肢体剧场《樱桃园》以身体性表演为主要形式,采用大量实验性的剧场符号,重构了契诃夫的经典戏剧。这部作品看似是对经典戏剧的当代性呈现,其当代性却仅表现为符号,仍然缺乏立足当下的内核。创作者将情节集中在柳苞芙与罗巴辛两个人物上,强化了文本的戏剧性,使作品比契诃夫的剧作更接近于经典戏剧范式;对主要人物个人情感的强调挤压了原剧本中的经济问题,削弱了文本的喜剧性。在剧场形式上,作品对实验性剧场元素的使用虽然正确,却缺乏新意。由于创作者采取了保守的创作策略,作品呈现出内部的分裂,既没能恰当地呈现原始文本,也没有充分表现当代精神。The physical theatre production The Cherry Orchard,directed by Wang Yuanyuan,primarily employs corporeal performance forms and utilizes a plethora of experimental theatrical symbols to reconstruct Chekhov’s classic drama.Although this work appears to present a contemporary rendition of the classic play,its contemporaneity is merely symbolic,and the work lacks a core that is grounded in the present day.The creator focuses the plot on two characters,Lyubov Andreievna Ranevskaya and Lopakhin,intensifying the dramatic nature of the text,which is closer to the classic dramatic paradigm than Chekhov’s original play.The emphasis on the personal emotions of the main characters squeezes out the economic issues present in the original script,diminishing the comedic aspect of the text.In terms of theatrical form,while the use of experimental theater elements is appropriate,it lacks novelty.Due to the creator’s conservative creative strategy,the work exhibits an internal division,failing to properly present the original text and also not fully expressing the spirit of the contemporary era.

关 键 词：肢体剧场《樱桃园》 契诃夫经典戏剧 身体性表演 当代剧场艺术 经典戏剧范式 

分 类 号：J720.9[艺术—舞蹈]