摘要
多元化的后现代戏剧格局增添了理解的难度,但后现代戏剧仍具有自身的一些基本的关学特征：追求空间化,轻文字语言、重舞台语汇等。后现代戏剧表演艺术主要有两种美学倾向：1．削弱演员表现力,把演员降低为“傀儡”；2．“为表演者而进行的关于表演者的研究”,把演员表演提高到“本体”地位等。后现代戏剧导演艺术主要具有三个方面的关学特征：在创作上,常常采取即兴创作的方式；在戏剧演出时空方面,往往致力于建构一种观演共享空间；在剧场审美方面,追求一种“震惊”效果。
The pluralized postmodern culture has gestated various forms of postmodern drama which has gradually formed its basic aesthetical features such as the vocabulary than verbal language. Postmodern performance pursuit art has of space, attaching greater importance to stage the following two major aesthetical tendencies： weakening the expressiveness of performers and degrading them to the status performers carried out for the sake of performers ＂has promoted performance of puppies, and ＂the researches of to the status of ＂nouminon＂ . The stage directing art of postmodern drama has the following three aesthetical features： the adoption of improvisational creation; the dedication to constructing space shared by both performers and audience; and the pursuit of a shocking effect in terms of theater aesthetics.
出处
《涪陵师范学院学报》
2006年第6期25-30,共6页
JOurnal of Fuling Teachers College
关键词
后现代戏剧
空间化
表演
导演
postmodern drama
space
performance
stage directing
