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題名:後劇作戲劇與後劇作表演
書刊名:戲劇藝術
作者:馬文‧卡爾森胡開奇
出版日期:2020
卷期:2020(2)
頁次:1-11
主題關鍵詞:戲劇表演後劇作戲劇漢斯-蒂斯.雷曼藝術TheatrePerformancePostdramaticHans-Thies LehmannArts
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德國戲劇理論家漢斯-蒂斯·雷曼提出了"后劇作戲劇"的概念。所有"后"術語的一個共性就是拒絕既定傳統的某些要素。"劇作"指的是戲劇文本及其歷史,而"戲劇"則是指文本在舞臺上的呈現。"后劇作戲劇"就是要超越劇作,將表演從文學文本中解放出來。從上世紀初戈登·克雷和德國"導演戲劇",到近年來幾位主要國際導演伊沃·范·霍夫、凱蒂·米歇爾、龐奇專克劇團和西格納劇團的最新作品,其共同點就是對傳統戲劇和模仿觀念發起挑戰,旨在顛覆傳統戲劇這一與日常生活和其環境氛圍截然分離的虛構體系。
It was the German theorist Hans-Thies Lehmann who proposed the concept of postdramatic theatre. A common feature of all"post"terms is the rejection of certain elements in the established traditions. "Drama"refers to the text and its history,while "theater"is defined as the presentation of the text on stage. Therefore,"postdramatic theater"means to transcend the drama,emancipating performance from the shackles of text. By reviewing Edward Gordon Craig and the German"Director’s Theatre"in the beginning of the 20 th century and the recent works of several major international directors—Ivo van Hove,Katie Mitchell,Punchdrunk and Signa,the paper argues that what they have in common is a challenge to the traditional theatre and its concept of mimesis so as to subvert its fictional system,which is completely separated from daily life and its surroundings.
 
 
 
 
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