摘要
在赖声川戏剧中,时空的存在形态、布列顺序、更移规律往往突破常规思维,根据创作者的表意目的,组织出层叠交互、虚实无间、自如穿越的形式。其戏剧通过特定的时空形式来指涉现实,同时创造各种“相关性”进入历史、政治、文化、哲理等多层场域,激发更为丰富的指意面向。赖声川以“人”的表现为中心,将神话、宗教、小说、历史、现实等不同层面的时空打通,创造出异彩纷呈的戏剧时空形态。其戏剧时空观念与构形受到佛教“中观”思想启发,体现着“空”与“有”一体两面的辩证思维。
In Stan Lai Shengchuan's plays,the form of existence,the order of arrangement and the law of change of time and space often break through conventional thinking,and organize a form of layered interaction,seamlessly virtual and real,and free passages based on their expressive purpose.Stan Lai's plays refer to reality through the specific choice of time and space,and simultaneously create various“correlations”into the fields of history,politics,culture and philosophy,stimulating a richer meaning.His plays focus on the representation of“human beings”,connecting the time and space of mythology,religion,fiction,history,reality and other dimensions,and creating a variety of forms of time and space.The conception and construction of time and space of his plays are inspired by the Buddhist idea of“Madhyamika”,reflecting the dialectical thinking of“emptiness”and“existence”as two aspects of the same thing.
出处
《戏剧艺术》
CSSCI
北大核心
2023年第5期39-48,共10页
Theatre Arts
基金
国家社会科学基金艺术学重大项目“中国话剧编剧学理论研究”(22ZD07)的中期成果。
关键词
时间
空间
连接
中观
time
space
connection
Madhyamika
