在图画与剧场之间:迈克尔·弗雷德的“姿势美学”及其批判

Between Picture and Theater:Michael Fried’s“The Aesthetics of Gesture”and A Critique of It

安东尼·卡洛的绘画式雕塑位于现代主义还原论与极简主义物性论之间,是弗兰克·斯特拉抽象绘画在雕塑领域的功能对应物。如何承认却不突显物性,是现代主义艺术理论的核心关切,斯特拉抽象绘画通过纯粹视觉和推论结构来实现这种构想,卡洛彻底抽象的雕塑作品则诉诸句法构造和姿势效验。迈克尔·弗雷德由此将基于卡洛作品的“姿势美学”视作克服极简主义“物性美学”的现代主义范例。然而,弗雷德不仅阉割了布莱希特的“姿势戏剧”,也误用了梅洛—庞蒂的“姿势现象学”。为此,贝克特的前卫戏剧与罗丹的破损雕塑或可例证一种前卫主义版本的“姿势美学”,追求用介入取代自律,用“另类准则”取代形式趣味,用绵延取代瞬间,用行动取代作品,以此来超越现代主义。

Positioned between modernist reductionism and minimalist objectism,Anthony Caro’s painterly sculptures are the functional counterparts of Frank Stella’s modernist paintings in the realm of sculpture.How to“acknowledge”but not“highlight”objectness is the core concern of modernist art theory.Frank Stella’s abstract paintings realize this concept through“pure visuality”and“deductive structure”,while Anthony Caro’s abstract sculptures resort to“syntactic structure”and“gestural effect”.Michael Fried thus regarded“The Aesthetics of Gesture”based on the work of Anthony Caro as a modernist example of overcoming minimalism“The Aesthetics of Thingness”.However,Fred not only emasculated Brecht’s“gestural theater”,but also misused Merleau-Ponty’s“Phenomenology of Gesture”.For this reason,Beckett’s avant-garde plays and Rodin’s damaged sculptures may exemplify an avant-garde version of“The Aesthetics of Gesture”.This aesthetic pursuit uses engagement to replace autonomy,“Other Criteria”to replace formal interest,duration to replace instant,and actions to replace works,in order to overcome modernism.