摘要
雷曼的后戏剧剧场理论主张通过"美学"介入"政治",而介入"政治"的后戏剧剧场的"美学"目的,是达成反对政治之理性基础的"越界"状态,这与当代部分诉诸感性体验的欧陆哲学是合流的。不妨说,雷曼后戏剧剧场的"政治性"既是"美学"的,也是"哲学"的。在西方思想史上,卢梭对戏剧、政治与哲学之关系的理解相当"另类",为了政治,他罕见地既反对戏剧,又反对哲学,更不用说反对两者的合流。雷曼与卢梭在戏剧理论上的对决,无疑是"个人主义"与"国家主义"的对决,它们各自揭橥了对方的界限。
The theory of postdramatic theatre articulated by Lehman advocates the intervening of politics through aesthetics,and argues that the purpose of the"aesthetics"of postdramatic theatre is to achieve a"cross-border"state against the rational basis of politics,which is in line with the some contemporary European philosophies that resort to perceptual experience. It can be said that the"political nature"of the post Lehman theatre is both"aesthetic"and"philosophical". In the history of Western thought,Rousseau’s understanding of the relationship between theatre,politics and philosophy is quite"unconventional". For the sake of politics,he is opposed to both theatre and philosophy,let alone the confluence of the two,which rarely happen. The confrontation between Lehman and Rousseau in theatre theory is undoubtedly the confrontation between individualism and nationalism. They reveal each other’s theoretical boundaries.
出处
《戏剧艺术》
CSSCI
北大核心
2020年第4期18-28,共11页
Theatre Arts
关键词
后戏剧剧场
政治性
雷曼
卢梭
反戏剧
postdramatic theatre
politicalness
Lehmann
Rousseau
anti-drama
