介入社会现实:浸没剧的越界美学

Immersive Theatre:Transgression and Social Intervention

浸没剧是欧美方兴未艾的一种非剧场形式的戏剧,但国内对此类戏剧的探讨和介绍均流于商业类浸没剧,而忽略了其固有的社会介入功能。通过结合波瓦"被压迫者戏剧"的理念,浸没剧可以在空间和观演互动两个层面,实现介入公共议题的潜力。当代爱尔兰阿努剧团的作品《吉卜赛大篷车》便是介入式浸没剧的代表:作品将演出置于具有高度政治性的非剧场空间,从经济、政治和历史维度曝光空间中被遮蔽的现实,从而进行社会批判;同时,演出以多种观演互动的方式突破一般商业浸没剧的观演界限,并将意义重大的伦理抉择与观众的感官结合,以肉身的直接介入,激发观众参与公共议题,并最终引发对既有观念的反思。在对传统戏剧观念和形态的多重越界中,浸没剧对社会和历史批判的力度,也超越了其他先锋戏剧。

Immersive theatre is a recent popular Euro-American theatrical form. In China, most studies regard it as a consumerist product and ignored its innate function of social intervention. This function can be realized by the emphasis on the creative use of space and performer-spectator interaction of immersive theatre, which conforms to the notion of ＂Theatre of the Oppressed＂ by Augusto Boal. Vardo, produced by the contemporary Irish theatre group Anu Productions, is a representative piece of politicized immersive theatre. The use of non-theatre space, through which the economic, political and historical dimensions are investigated, is effective at exposing the hidden reality therein, and furthurmore, a critique of society. Meanwhile, this performance transgresses the established performer-spectator boundary of commercialized immersive plays by combining ethical choices with spectators＇ senses, stimulating their immediate public participation, and finally leading to a reevaluation of established ideas. The potential of immersive theatre for social and historical intervention can be realized by a transgression of theatrical ideas and forms, which, ultimately, surpasses other avant-garde performance.