影视视听语言对当代戏剧“假定性”的扩展

The Expansion of "Hypothetical" in Contemporary Drama by Movie and Television Language

近年来,随着新媒体技术的发展和成熟,我们在戏剧的舞台上看到了越来越多的影视视听语言独有的“物造型”手法,例如《酗酒者莫非》中作为舞台背景并参与叙事的LED大屏幕,德国邵宾纳剧院版《哈姆雷特》中哈姆雷特手持DV的主观视角投影以及云南艺术学院小剧场话剧《狗镇》中对心灵破碎的声画处理等。其实,新媒体技术的运用只是影视视听语言对于戏剧舞台“假定性”扩展中的一小部分,自从先锋戏剧《绝对信号》开始,戏剧就已经逐步开始借鉴和使用电影化视听语言的手法,影视试听语言的大量运用,在扩展戏剧舞台时间和空间等“假定性”的同时,也使得叙述和演出方式发生了嬗变,使得戏剧富有新的时代价值和意义。

In recent years,with the development and maturity of new media technology,we have seen more and more unique"object modeling"techniques of movie and television language in theatre stage,such as LED screen as stage background and participating in narrative in Mo Fei,subjective perspective projection of Hamlet handheld DV in edition of Germany Schaubuehne Theatre and the sound and picture processing of broken mind in Dog Town in edition of a small theatre drama of Yunnan Art University.In fact,the application of new media technology is only a small part of the expansion of"hypothetical"in theatre stage.Since the avant-garde drama Absolute Signal,it has gradually begun to learn from and use the technique of film-based audiovisual language in drama,Thus,the abundant use of audiovisual language expand the"hypothetical"of stage time and space while make the way of narration and performance changed,which makes drama full of new era value and significance.