约翰尼斯·舒尔茨:好的布景总是空的

Johannes Schütz: Good Scene on Stage Is Always Empty

在视觉表现手段日新月异的当代,戏剧舞台在视觉表现方面,在直接表现周围的世界方面,仍然不是无所不能,仍然有限。更重要的是,这种限度本来就是戏剧的实质所在。纵观舒尔茨的舞台设计可以看出,他在设计中关于"空"的强调,并非简单的布景虚无主义或者取消布景,而在于对舞台空间中看不见的表现潜力的预期和把握,与演员行动的有机结合,剧场时空与戏剧时空的同步发展交替,以及对剧本内在精神的侧重。舒尔茨的舞台设计是深入思考和顾及戏剧综合性整体后,对自身的重新定位,因而非但没有削弱舞台设计的作用,反使之在演出整体中随同各种综合因素一起,进一步得到加强或变得更为有效。

Despite all rapid developments today, visual devices on theatrieal stage are rather limited in directly expressing the surrounding world. More importantly, such limitation is in itself the essence of theatre. A review of the stage design works by Johannes Sehtitz shows that his emphasis on emptiness is by no means nihilism to stage scenes. Rather, it involves anticipation and utilization of the invisible possibilities of stage spaces, and their organic connection with actors＇ movements. It also involves synchronization of the spatial-temporal aspects of drama and those of theatre, with a focus on the inner spirit of the play. In this way, Sehutz strengthens rather than weakens the role of stage design in a play.