媒介技术与文化资本的交媾——孟京辉先锋艺术的转向及批判

Combination of Media Technology and Cultural Capital——Turn and Criticism of Meng Jinghui’s Avant-Garde Art

媒介理论视域下孟氏戏剧的转向在于,以技术将工具性的媒介材料重新组合成具有主体性的审美对象。受众的多重感官在复合型媒介场中具有在场性,沉浸式审美体验不同于传统剧场的美学习性,“先锋的形式”因此合法化。媒介艺术的生成机制隐喻着技术与人的冲突;媒介主体性在增强受众感官力量的同时,也对其具有本质力量的理性加以截除,艺术生产者的文化资本也因此具有了扩张的可能。媒介技术与文化资本在艺术场域中运作的“卡里斯玛”陷阱,表征于孟氏剧场中的一系列艺术形式。

From the perspective of media theory,the turn of Meng’s drama is to use technology to recombine instrumental media materials into subjective aesthetic objects.The various senses of the audience are presented in the complex media field.Besides,the immersive aesthetic experience is different from the aesthetic aptitude of traditional theater.So the“avant-garde art”is well accepted.As the generation mechanism of media art implies the conflict between technology and man,the subjectivity of media enhances the audience’s sensory power,and at the same time cuts off its essential power of rationality.As a result,the cultural capital of art producers gains its possibility of expansion.And the“Karisma”trap that media technology and cultural capital operate in art field is characterized by a series of art forms in Meng’s drama.