当代舞台设计中的平面绘画因素

Elements of Painting in Contemporary Stage Design

平面绘画布景曾经是20世纪初舞台美术革新和突破的对象,而否定平面绘画布景的一个强大理论依据,在于二维平面布景与三维演员身体之间的矛盾。今天看来,这种说法由于针对的是当时盛行的幻觉写实手法,不可避免带有那一时期实践和认识上的局限,演员与平面布景矛盾的断定也显得过于绝对,因为绘画布景的“假”本来就同剧场艺术与生俱来。在当代舞台设计中,平面绘画因素特别以其鲜明独特的风格引人注目,甚至在一定程度上代表着最新的发展潮流,推进着演出形式的探求。留意这一现象,重新思考平面绘画因素在舞台上的位置,会发现它描绘视角的根本转移,它在空间设置方面对传统规范的重要超越,它与剧场艺术本质性的联系,以及与当代美学观念同步的进程。

Painted scenery used to be the arena of innovation at the beginning of the twentieth century. The refutation of painted scenery was based on the strong argument about the contradiction between two dimensional painting and three-dimensional body. The limits of this argument arose from the contingency in critiquing the contemporaneous illusory approach. Likewise, the arbitrariness of this rebuttal of illusory scenery also failed to notice that the artificiality painted scenery .was accused of was part and parcel with theatre itself. In contemporary theatre practice, painted scenery has once again captured people＇s attention, signaling new directions of stage design, and calling for new thinking on how elements of painting may affect the stage, how they may challenge limits of traditional space construction, and how they are deeply imbedded in theatricality.