论孟京辉戏剧作品对西方戏剧理论的接受——以导演论、观演关系论和舞台论为核心

Meng Jinghui's Reception of Western Dramatic Theory——On His Ideas of Director, Audience-actors Relation, and Stage Aesthetics

孟京辉吸收了西方各家戏剧理论,将其杂糅混合运用到自己所导演的戏剧作品中,丰富了作品的美学特色。西方戏剧理论对其产生的影响大部分体现在对导演、演员、观众三者关系和舞台美学的处理上。孟京辉将导演中心论消解,重新思考导演与演员之间的关系,鼓励演员勇于创造,自由发挥,对"集体即兴创作"情有独钟。随着孟京辉对观演关系所产生的新的理解,观众与演员之间的联系变得越发密切,加上孟京辉对梅耶荷德"假定性"观点和格洛托夫斯基"质朴戏剧"理论的接受,共同促进了舞台美学的大变革。首先是舞台布置呈现出孟京辉独有的美学特色;其次是观演空间的改革,通过各种方式慢慢拉近观演距离,最终将观演空间实验做到极致的浸没式戏剧开始出现。

The influence of Western dramatic theory on Meng Jinghui is mainly reflected on the his treatment of the relationship between director, actor and audience and of stage aesthetics. Meng Jinghui deconstructs the directorcentrism, rethinks the relationship between directors and actors, encourages the actors’ creative and free play.He understands of the relationship between the audience and the actors in fresh light, and for him this relationship becomes closer and closer, which, together with Meng Jinghui’s acceptance of Meyerhode’s concept of assumption and Grotowski’s theory of plain drama, caused a drastic change of stage aesthetics. Firstly, the stage layout presents Meng Jinghui’s unique aesthetic characteristics;secondly, the innovation of the viewing space slowly decreases the viewing distance, until at last the immersion drama which pushes the viewing space experiment to the extreme appears.