笨拙、老套、还是退化——抑或英国“直面戏剧”如何成为新欧洲戏剧?（英文）

Stupid,Old Fashioned or Backward or How British In-Yer-Face Becomes New European Drama?

本文旨在表达对"直面戏剧"不同以往的观点。为了探索这一现象的发展历程,文章首先探究了剧场中剧本/剧目至上这一传统范式改变的原因——即剧本是如何不再成为剧场的基础,而导演又是如何占据主导地位。本文所聚焦的舞台正是这一潮流风行的二十世纪九十年代,这一时期的舞台表演又推动了后续现象的产生。从结果来说,英国暴力戏剧潮流的成型体现在它的主要方面上、它对欧洲大陆的"出口"上、以及它成为"新欧洲戏剧"的精心策划上。这里的精心策划是加引号的,暗示了主要的"煽动性"工具的参与。通过从艺术和社会学的角度分析这一现象的五个主要后果,本文阐明了"直面戏剧"对欧洲剧场的全面的冲击。

This article presents an idiosyncratic, against-the-grain viewpoint towards the In-Yer-Face drama. It explores the development of the phenomenon delving first into the reasons that changed the paradigm of the traditionally supreme importance of the play/drama in the theatre -- how the play was ousted as the a-priori foundation of the theatre and how the director took over the leading role. It then focuses on the stages of this trend particularly in the 1990s, as the immediate spring-board for the future phenomenon. Subsequently, the formation of the drama-of-violence wave in Britain is presented in its main aspects, its ＂export＂ into mainland Europe and its orchestrated take-over as the New European Drama. There is a special emphasis on the latter, with accents on the main ＂demagogical＂ tools applied. The overall impact of all that on European theatre is further brought into the spot- light, with analyses on the main five consequences both from artistic and sociological points of view.This text presents the essence of the book The New European Drama or the Big Deceit, by Sanja Nikcevic, published in Croatia, Slovakia and Bulgaria.