田沁鑫禅意戏剧探析——以《青蛇》《北京法源寺》《聆听弘一》为例

Tian Qinxin's Zen Drama: A Study of The Green Snake, Fayuan Temple of Beijing, and Hearing the Voice of Hongyi

田沁鑫作为当下中国极富创造力的戏剧导演,她的《青蛇》《北京法源寺》《聆听弘一》以其浓郁的禅学色彩被观众称为"禅意三部曲"。田沁鑫的禅意戏剧试图突破宗教与艺术之间的界限,在不同的文化领域间建立同构关系,并通过中国哲学——禅宗学说来净化人心,实现一种中国式的"卡塔西斯"。在舞台上努力通过"说破""不说破",庄谐共生,空灵极简的空间设计,独立的音响功效等叙事策略去营造诗化禅境。而探究田沁鑫这一审美追求的根源,在于其对自身艺术审美风格、中国固有写意艺术及佛禅文化和禅学之美的一种自觉不自觉的文化选择。

Tian Qinxin is a creative Chinese director. Three of her works, The Green Snake, Fayuan Temple of Beijing, and Hearing the Voice of Hongyi, are known as the ＂Zen Trilogy.＂ Tian Qinxin＇s Zen drama seeks to break the boundaries between religion and art and establishes a homogenous relationship between different cultures. It aims at the purification of human minds and a Chinese version of ＂catharsis＂ through Zen Buddhism, a branch of Chinese philosophy. It attempts to poetize the Zen aura through stage design that combines the ＂direct＂ and the ＂indirect＂, the solemn and the humorous, as wetl as the minimalist void on the one hand, and narrative strategy with independent acoustics on the other hand. The root of the aforementioned aesthetic pursuit is in Tian Qinxin＇s conscious and unconscious cultural choices concerning aesthetic style, conventional Chinese impressionistic art, as well as Zen culture and aesthetics