残酷戏剧理论对当代戏剧的影响

发布时间：2018-05-22 14:17

本文选题：残酷 + 空间　；参考：《天津音乐学院》2017年硕士论文

【摘要】：安托南·阿尔托认为当时的资产阶级意识形态下人们的生活都是假的,人与人之间的关系也是假的,必须让人们回到本原,戏剧就要担当起改变他们的任务,这也是阿尔托建构“残酷戏剧”理论的根本意愿与动机。一,他着意强调演出的仪式性。戏剧是源于古希腊酒神祭祀,阿尔托认为戏剧不是消遣,也不是文字,甚至不是艺术,它是,一种接近宗教意义上的集体活动,其主要目的是洗涤人们的心灵。这正需要戏剧回归原点,找回戏剧本身的功能。二,阿尔托创造了一种独特的以空间艺术为主的戏剧语言,打破原有的单一的镜框式舞台和单调的观演关系,使观众感觉身在故事其中,继而也打破了观众总是冷眼观看的观演方式。也就是戏剧中的观众与演员的距离和全方位立体化的舞美设计概念。三,反文本主义,戏剧的发展慢慢偏重于文本台词而忽视了戏剧中其他的语汇,阿尔托认为单靠字词的罗列是无法真实的表达戏剧的真谛感化观众,对于这种抽象的艺术必须采用身体或者具体的“物质化”语言才能表达。
[Abstract]:Antoine Aalto believed that people's lives under bourgeois ideology at that time were all false, and that the relationship between people was also false. People had to be brought back to their original origins, and the drama had to take on the task of changing them. This is the fundamental intention and motive of Aalto to construct the theory of cruel drama. First, he intended to emphasize the ceremonial nature of the performance. Drama originates from the worship of the ancient Greek god of wine. Aalto believes that drama is not a pastime, nor a word, or even an art. It is a collective activity close to religion, the main purpose of which is to wash people's hearts. This is the need for drama to return to the original point, back to the function of the drama itself. Second, Aalto created a unique theatrical language dominated by space art, breaking the original single mirror frame stage and monotonous viewing relationship, making the audience feel in the story. Then also broke the audience always cold-eyed view of the way. That is, the distance between the audience and the actors in the drama and the all-dimensional concept of dance design. Third, anti-textualism, the development of drama gradually focused on the text lines and ignored the other words in the drama. Aalto thought that it was impossible to truly express the true meaning of drama to the audience. This abstract art must be expressed either physically or in a concrete "materialized" language.
【学位授予单位】：天津音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J802

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