黑山学院对“残酷戏剧”理论的接受与传播

The Reception and Dissemination of the Theatre of Cruelty in Black Mountain College

20世纪50年代,安托南·阿尔托"残酷戏剧"理论的价值尚未在其故土获得广泛认同,远在大洋彼岸的美国却为其提供了一块落脚之地——黑山学院的先锋艺术者们欣然接受了这一理念并将其运用在自己的实践中。残酷戏剧理论对他们在各自领域打破传统、推陈出新起到了重要作用,催生出如《戏剧作品1号》《白色绘画》《四分三十三秒》等作品。与此同时,黑山学院的艺术家们也对"残酷戏剧"理论的传播起到了重要的推动作用。他们不仅完成了对该理论从抽象到具象的转化,也将其从单一的戏剧理论层面上升到艺术本体的高度,拓宽了其受众群体。此外,黑山学院还将"残酷戏剧"理论的火把传至生活剧团手中,帮助它叶落归根,回到戏剧艺术的舞台,促使戏剧界对其投以新的关注。

In the 1950＇s, Antonin Artaud＇s theory of the ＂Theatre of Cruelty＂ was not recognized in his native land, but on the other side of the ocean, it was favorably received in the United States. Avant - garde artists of Black Mountain College accepted Artaud＇s theory and applied it to their own works. The ＂Theatre of Cruelty＂ has played an important role for innovative artists who broke with tradition, as was seen in such works as Theatre Piece NO. 1, White Paintings. and 4＇33＂ The artists of Black Mountain College were a major force in the spreading of the ＂Theatre of Cruelty.＂ They helped transform the abstract theory into concrete presentations, thus elevating it from a mere theatrical theory to art of ontological value, and enlarging its audience. In addition, Black Mountain College passed on the torch of the ＂Theatre of Cruelty＂ to the Living Theatre, which not only led the theory back to the stage, but attracted new attention from the theatrical world.