摘要
传统欧美剧场的舞美设计属于“视觉领域”,而当代场景设计的感知变革意味着破除视觉主导性,转而强调场景设计的多感官体验。在视觉主导、听觉其次的西方剧场体验背后,是西方文明尤其现代文明视觉至上的感知等级秩序。近三十年来,作为影视与互联网等虚拟媒介难以提供的剧场具身体验,触觉、嗅觉、味觉逐渐成为当代剧场及表演的常用手段。鉴于这一“低级感官”复兴,本文从触觉、嗅觉、味觉和联觉四个角度聚焦当代剧场环境里的感知身体,探寻从人类触觉到后人类触感的剧场触觉体验,以情感、记忆与城市嗅景为主题的剧场嗅觉体验,围绕趣味、烹饪与味美学展开的剧场味觉体验,以及基于联觉美学与“天气世界”理念的剧场联觉体验,由此述评“低级感官”在当代剧场扩展场景设计中的运用以及相关理论发展。
The stage design of traditional European and American theatre belongs to the“visual field,”while the perceptual revolution of contemporary scenography aims to break the visual dominance and devise multi-sensory experiences.Behind the traditional scenography dominated mostly by vision and secondly by hearing is the perceptual hierarchy of Western civilization,hammered in especially by rationalism in modern times.Since the 1990s,however,contemporary theatre has turned to touch,smell and taste to provide embodied experiences that are inaccessible through virtual media such as film,television and the Internet.Considering the recent revival of“lower senses,”this article focuses on the perceiving body's sensory experiences of touch,smell,taste and synaesthesia in contemporary theatre environments.Exploring tactile/haptic experiences from human touch to post-human touch,relating olfactory experiences to emotion,memory and urban smellscape,staging gustatory experiences through taste,cooking and rasaesthetics,and devising synaesthetic experiences to understand(syn)aesthetics and the“weather world,”contemporary theatre has effectively appealed to“lower senses”in both theory and practice through its expanded multi-sensory scenography.
作者
朱雪峰
Zhu Xuefeng(English at the School of Foreign Studies,Nanjing University)
出处
《文艺理论研究》
北大核心
2023年第2期66-78,共13页
Theoretical Studies in Literature and Art
基金
国家社科基金艺术学重大项目“当代欧美戏剧理论前沿问题研究”[项目编号:18ZD06]的阶段性成果。
关键词
场景设计
触觉
嗅觉
味觉
联觉
scenography
touch
smell
taste
synaesthesia
