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英国戏剧史家菲利斯·哈特诺尔认为:“戏剧之所以成其为戏剧,有三个方面的因素是必不可少的:演员的道白和演唱皆不受原始合歌的约束;道白反映一定的矛盾冲突;观众介入情感但不参与表演。”(《简明世界戏剧史》第1页)显然,这三个因素既不能框范西方现代先锋派戏剧,也不能框范中国现存原始戏剧——傩戏。因为观众不仅是戏剧演出的观赏者,而且是戏剧演出的参与者,这正是西方现代先锋派戏剧和中国现存原始戏剧的共同特征之一。事实上,观众参与是一切戏剧共同而又基本的特征,只不过各种戏剧的观众参与方式不同而已,只不过人们对于“参与”一词的理解不同罢了。导致这种状况产生的原因是多方面的。要想彻底说清楚这些原因也许是不可能的,但是通过探讨这些问题,使我们从本体论的高度加深对于戏剧的认识却是可能的。
British drama historian Phyllis Hartnor said: “The reason why drama becomes a drama, there are three aspects of the essential: the actors do not know the original white and singing the song constraints; Road white reflection A certain degree of conflict and conflict; the audience involved in the emotional but not involved in the performance. ”(“ Concise World Theater History, ”page 1) Clearly, these three factors can neither frame the modern Western avant-garde drama nor the original Chinese drama - - 傩 drama. Because the audience is not only a spectator of theatrical performances, but also a participant of theatrical performances, it is one of the common features of the western modern avant-garde drama and the original Chinese original drama. In fact, audience participation is a common and basic feature of all the dramas, except that audience participation in different plays is different, except that people have different interpretations of the word “participation.” The reasons that led to this situation are manifold. It may not be possible to make a thorough explanation of these reasons, but by exploring these issues, it is possible for us to deepen our understanding of drama from an ontological level.