重提“影戏”:数字戏剧与影像装置的新物质性

Revisiting“Yingxi”:The NewMateriality of Digital Theatre and Video Installation

随着数字媒体技术的发展,舞台空间呈现出媒介化、虚拟化的倾向,而影像也逐渐突破银幕的界限,向更广阔的物理空间拓展。从物质性的视角来看,这反映了表演艺术的去物质化和影像艺术的再物质化这两个相向而行的过程。该现象促使我们重新审视“影戏”这一兼具历史意义和概念性的称谓。我们有必要呼应当下“新物质主义”的哲学思潮,提倡以“新物质性”的视野来审视“影”与“戏”的关系。所谓“新影戏”,旨在激活各种非生命物体,挑战人类中心主义的经典范式,重新装配人类与非人类、物质与“非物质”的部署,进而理解和推动一种新型展演空间——“新影剧院”,即未来剧场的诞生。

With the development of digital media technology,theatrical spaces are increasingly characterized by mediatization and virtualization,while video is gradually breaking through the boundaries of the screen and expanding into broader physical spaces.From the perspective of materiality,this reflects two converging processes:the dematerialization of the performing arts and the rematerialization of video art.This phenomenon prompts us to re-examine the term“Yingxi”,which carries both historical significance and conceptual implications.Echoing the current philosophical trend of“new materialism”,this paper advocates for examining the relationship between“ying”(shadow/video)and“xi”(play/theatre)through the lens of“new materiality”.The concept of“new Yingxi”aims to activate various non-living objects,challenge the classic paradigm of anthropocentrism,and reconfigure the apparatus of the human and the non-human,the material and the“immaterial”.Furthermore,it seeks to understand and promote a new type of performative space—the“new Yingxi theatre”—which represents the birth of the theatre of the future.