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先锋的小剧场——论“小剧场运动”与后现代戏剧的兴起
Alternative TitleThe Avant-garde Little Theatre——The“Little Theatre Movement”and The Rise of Post-modernism Theatre
刘雪莲
Thesis Advisor张进
2010-05-22
Degree Grantor兰州大学
Place of Conferral兰州
Degree Name硕士
Keyword小剧场运动 后现代戏剧 剧场 导演 观演关系
Abstract19世纪末20世纪初兴起于法国的“小剧场运动”,是研究戏剧由现代主义发展到后现代主义不可忽略的一部分。1887年,法国巴黎煤气公司的一位名叫安托万的职员辞去公职创办“自由剧团”,此举点燃了“小剧场运动”之火,“小剧场”迅速在欧洲蔓延开来并很快将戏剧的火种传递到大西洋的彼岸。这次“小剧场运动”中涌现出了众多的戏剧革新者,他们的戏剧活动极大地改变了戏剧的面貌,尤其在剧场、导演、观演关系的变革方面与后现代戏剧的兴起之间有着不可分割的联系。 论文主要有四章,下面分别概括一下它们的具体内容: 第一章“概述”主要对于“小剧场运动”的兴起、革新先驱的戏剧活动进行了大致的描述。第一节“兴起”对于这次戏剧运动兴起的背景、发展状况进行了简明扼要的说明,第二节“先驱”对于运动中革新先驱的戏剧活动做了简要描述及评价。 第二章“剧场”主要论及“小剧场运动”中剧场变革及其与后现代戏剧在这方面的关联。第一节“流浪”指出了这次戏剧运动中关于剧场的最主要特点。第二节“先锋”论述了“小剧场”的先锋性。第三节“剧院”谈及“小剧场”在演出场所方面所尝试的各种革新。第四节“演变”将剧场变革置于戏剧史的宏阔背景下论述这些革新与后现代戏剧兴起的关系。 第三章“导演”主要论及“小剧场运动”中导演地位的崛起。第一节“出生”梳理出了安托万、富尔和吕涅•波以及科波的导演艺术实践,说明了导演作为一门独立职业开始兴起。第二节“崛起”主要以“四人联盟”的导演活动总结出导演在戏剧活动中开始占有越来越重要的位置。第三节“对峙”论述导演在戏剧中的地位开始崛起的同时与剧本辉煌的共生。第四节“演变”概述了导演发展史并论述了“小剧场运动”中导演地位的变化与后现代戏剧的关联。 第四章“观演关系”论述了“小剧场运动”中观众与演员之间关系的变化。第一节“融合”总结了戏剧革新者们为改善观演之间的对立关系所付出的努力以及取得的相应成绩。第二节“仪式”主要论述阿尔托作为观演关系变革中最重要的一环,他关于仪式剧的具体戏剧理论。第三节“蔓延”的主要内容是阿尔托仪式剧戏剧理论在具体戏剧实践中的普及状况。第四节“演变”论述了阿尔托作为“小剧场运动”与后现代戏剧的重要纽带,他的仪式剧理念在后现代戏剧中的呼应。 论文的引言界定了所要论述的“小剧场运动”的范围,结语指出了所得出的研究结果以及对选题本身的思考。
Other AbstractThe“little theatre movement” which is originated from France in the period from the end of 19th century to the beginning of 20th century is a necessary part in the research of how theatre developed from modernism to post- modernism. In 1887, Antoine who is an employee of gas company in Paris of France created a new situation in theatre history. He resigned from the office and organized Théâtre Libre , and meanwhile initiated the “little theatre movement” unexpectedly. Little theatre spread quickly not only in Europe but the other side of the Atlantic. The little theatre emerged with an avant-garde appearance. Antoine advanced not only reform measures in view of existing situation of the old theatre, but fulfilled the theory by way of practice in the scope within his power. The young symbolist who named Paul Fort and Aurélien Lugné-Poé organized Le Théâtre d’ Art and Le Théâtre de l’ Oeuvre one by one as the camp of symbolism in order to confront naturalistic theatre. Copeau is known as the originator of modern theatre, he organized Théâtre du Vieux Colombier and have performed immortal feats on the foundation of the new theatre. Copeau changed French theater via amazing achievements. Le Cartel that followed Copeau is a loose organization. They made an effort on performing and directing and created a new situation on theatre history. French drama in early 20th century was no more dominated by commercial theatre via their effort. There is a prosperity situation with realism theatre﹑symbolism theatre﹑poetic drama﹑surrealism theatre turned up one after another.. As one of the distinctive features of the“little theatre movement”, little vagrant theatres first initiated innovation of theatre. From design of the stage to construction of theatre and setting of seats, traditional theatres still exists and modern theatres are emerging. In the experiment of post-modernism theatre, it has moved outside and gone to streets. It is unfolded with the appearance of domination by directors in theatre of the 20th century , meanwhile literature is no more the domination with other kinds of art in theatre has ranked the same class of it. To throw off the shackles of play and to perform in an extemporaneous manner is one of the important characteristics of post-modernism theatre. In the performances of post-modernism theatre, there often appear the situation that is participated with both the audience and actors. There is no more a ...
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Language中文
Document Type学位论文
Identifierhttps://ir.lzu.edu.cn/handle/262010/227761
Collection文学院
Recommended Citation
GB/T 7714
刘雪莲. 先锋的小剧场——论“小剧场运动”与后现代戏剧的兴起[D]. 兰州. 兰州大学,2010.
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