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皮斯卡托和布莱希特的叙事剧发展了表现主义戏剧场景剧对争论的探寻。通过叙事这一争论策略的引入,叙事剧打破了戏剧有机情节的绝对性和封闭性,使观众、演员共同参与争论成为可能。同时,叙事剧在将戏剧行动历史化的过程中,揭露了社会性行动的矛盾性、多种可能性以及由此带来的可争论性。而且,叙事剧的争论策略变革了“第四堵墙”旁观者剧场,唤醒了剧场作为共同体处理公共事务场所的古老功能,使观众、演员和角色均成为社会事务争论的参与者。因此,叙事剧尝试打破旁观者模式,探寻一种争论式参与性观演关系,是介入性、参与性美学的重要尝试之一。
Pisco Cato and Brecht’s narrative drama developed the drama of play in the drama of the debate. Through the introduction of narrative strategy, the narrative drama breaks the absolute and closedness of the organic plot of the drama and makes it possible for the audience and the actors to participate in the debate together. At the same time, the narrative drama unveils the contradictions and multiple possibilities of social action and the controversy it brings in the process of historicalization of the drama. Moreover, the controversial strategy of narrative drama revolutionized the “Fourth Wall” bystander theater, awakening the theater as a community’s ancient function of dealing with public affairs venues, making viewers, actors and characters both participants in social affairs debates. Therefore, the narrative play attempts to break the bystander model and explore a controversial participative relationship, which is one of the important attempts of interventional and participatory aesthetics.