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论直播戏剧的现场性——以"英国国家剧院现场"为例

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直播戏剧的现场性由于缺少身体在场和观演交流,长期为学术界所质疑.21世纪以来,以"英国国家剧院现场"为代表的直播戏剧主创们通过重建仪式、设置禁忌、引入风险性与易逝性,重新调整和定义了直播戏剧中的现场性.他们还将"直播"的重心由"现场性"调整转向"现场感",从而使观众成为现场性建构的核心.这些对现场性的改造,本质上使直播戏剧从现场性转向事件性,从时空共在走向心理共在.通过扩展和丰富现场性概念,直播戏剧消解了其内部影像与身体(实时与延时)的矛盾,为其艺术形式的扩展找到了理论支点和新路径.
On the Liveness of Telecasting Drama——Taking the"National Theatre Live in the UK"as an Example
The liveness of telecasting drama has long been questioned by the academic community due to the lack of physical presence and communication during performances.Since the 21st century,telecasting drama creators represented by the National Theatre in the UK have redefined and adjusted the liveness in telecasting drama by rebuilding rituals,setting taboos,introducing risk and perishability.They also shifted the focus of"telecasting"from"liveness"to"on-sight feeling",making the audience the core of liveness construction.These modifications to the liveness nature essentially shift the telecasting drama from being live to being event oriented,from being spatiotemporal to being psychological.By expanding and enriching the concept of liveness,telecasting drama has resolved the contradiction between its internal image and body(real-time and delayed),and found a theoretical fulcrum and new path for the expansion of its artistic form.

Telecasting drama"National Theatre Live in the UK"On siteEvent orientedRitualistic

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深圳大学戏剧影视学院,广东深圳 518060

直播戏剧 "英国国家剧院现场" 现场性 事件性 仪式性

广东省哲学社会科学规划常规项目(2022)

GD22CYS22

2024

南京艺术学院学报(音乐与表演版)
南京艺术学院

南京艺术学院学报(音乐与表演版)

北大核心
影响因子:0.375
ISSN:1008-9667
年,卷(期):2024.(2)
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