摘要
王延松版《原野》从导表演观念上自觉不自觉地确立了非体验式的借助演员“身体本身的空间性”的完型“身体图式”呈现方式。所谓“身体本身的空间性”就不是物理实在的“位置空间性”,而是基于具身性知觉现象学意义上的“处境的空间性”,即“身体面对其任务的处境”。这就是一种身体姿态的“新的存在”表演。无论是陶俑的造型及其处境晦暗的表演,还是44分钟两张条凳“处境的空间性”的展开,都契合了曹禺《原野》剧作的现象学视野。但王延松囿于坚持与知觉现象学相左的斯坦尼斯拉夫斯基导表演观念,因而,虽然从表演效果上看,他的确迈出了走出斯坦尼斯拉夫斯基导表演观念的重要一步,但从导表演观念的创新上而言,他并没有实质性的突破。
Wang Yansong's version of Yuan Ye sets up a non-experience-style“body schema”presentation method that relies on actor’s“body spatiality”from the concept of director and performer.The so-called“body spatiality”is not the physical“position spatiality”,but the“situation spatiality”based on the phenomenology of perception,that is,“the situation in which the body faces its tasks”.This is a“new existence”performance of a body posture.Whether it is the shape of the pottery figurines and their performance in a gloomy situation,or the unfolding of the“situation spatiality”with two stools in 44 minutes,they all fit the phenomenological vision of Cao Yu's play of Yuan Ye.However,Wang Yansong insisted on the performance concept of Stanislavsky,which is at odds with the phenomenology of perception.Therefore,although Wang Yansong took an important step of Stanislavsky's concept of director and performer from the perspective of performance effect,he actually made no substantial breakthrough in terms of performance concept innovation.
作者
邹元江
ZOU Yuan-jiang(School of Philosophy,Wuhan University,Wuhan,Hubei 430072)
出处
《艺术百家》
CSSCI
北大核心
2021年第3期141-147,共7页
Hundred Schools In Arts
基金
2014年度国家社会科学基金项目“审美非对象化问题研究”(项目编号:14BZX106)阶段性成果之一。
关键词
王延松版《原野》
知觉现象学
表导演
Wang Yansong's Version of Yuan Ye
Phenomenology of Perception
Concept of Director and Performer
