论文部分内容阅读
一 英国探索戏剧运动蔚为大观,从独立剧场、小剧场、业余演剧、政治剧开始,一直到边缘戏剧、实验戏剧、另类戏刷,已有百年的历史;将这么多流派或运动归在一个探索戏剧的标题下,唯一可认同的,就是这些戏剧运动在审美意识形态上的激进与叛逆精神。这种激进与叛逆精神,主要表现在剧场形式与文化仪式两个方面:一、剧场空间一体化。传统剧场的演区与观众席的界限被打破了,随之也打破了戏剧与生活、虚构与真实的界限,在剧场中创造同一的空间。在这同一的空间中,戏剧就是生活,观众也参与演出,就像演员也出现在观众之间一样。既然处于同一的空间,演员就可以与观众直接交流,像现实生活中的人与人那样。既然戏
A British exploration of theatrical movement has become a spectacle, starting from the independent theater, small theater, amateur drama, political drama, until the marginal drama, experimental drama, alternative drama brush, has a history of 100 years; will be so many genres or movements at an exploration Under the title of the drama, the only identifiable thing is the radical and rebellious spirit of these dramatic movements in aesthetic ideology. This radical and rebellious spirit, mainly in the theater and cultural ceremony in two aspects: First, the integration of theater space. The boundaries of the theater and the auditorium of the traditional theater have been broken, and the boundaries of drama and life, fiction and reality have been broken and the same space has been created in the theater. In this same space, drama is life, the audience is also involved in the performance, just as actors also appear among the audience. Since they are in the same space, actors can communicate directly with the audience, as in real life. Since the play