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2000年至2001年,我在台湾大学戏剧学系做客座教授期间,有幸在台北观赏了近百台舞台演出。台北的文化活动可谓异彩缤纷,目迷五色。我和戏剧结缘逾40年,用一个大陆专业观众的身心去领受台北的文化氛围,却另有一番感悟。 台湾剧场同世界剧场已不存在时间差,形形色色的现代-后现代思潮、观念、符码已应有尽有了;而且,不再是西方做什么,台湾的艺术家们就亦步亦趋做什么,形成单纯的符码移用套用的现象,而是从世界各地挑选有趣的东西做各种各样的实验,超越了模仿,逐渐形成台湾艺术家们自己的东西。其中,令我印象深刻的有创作社的《无可奉告》、越界舞团的《蛇的三种练习》和文学剧场的《她的小说,我的故事》等演出。
From 2000 to 2001, during my tenure as a visiting professor at the Department of Theater Studies at National Taiwan University, I was fortunate to have watched nearly a hundred stage performances in Taipei. Taipei’s cultural activities can be described as colorful, colorful fans. My relationship with drama for more than 40 years, with a mainland professional audience to accept the cultural atmosphere of Taipei, but another insight. There is no time difference between Taiwan’s theater and the world’s theater. All kinds of modern post-modernism, ideas and codes have been exhausted. What’s more, the artists in Taiwan have to do what they want and form a simple symbol shift Instead of imitating and gradually forming what the Taiwanese artists themselves do, we can use a variety of experiments to pick and choose interesting things from all over the world. Among them, I was impressed by the creation of “no comment”, “cross-border dance company” of the three exercises “and literary theater” her novels, my story "and other performances.