早期现代建筑的“总体艺术”实践:以两个剧院设计为例

“Total Work of Art”in the Development of Modern Architecture from late 19th to early 20th Century:Case Studies of Two Theatre Designs

19世纪以来,随着现代化和工业化程度的加深,科学、艺术和劳动的分划也日益显著。在这一现实背景下,出现了对"总体艺术"的呼吁,提倡以此促成建筑、戏剧、音乐等多种艺术表现形式的联合,以及艺术与社会的联合。音乐家瓦格纳主导建设的拜罗伊特剧院,作为总体艺术概念的早期空间实践,对后来的建筑理论与设计造成了深远影响,其中包括由20世纪初先锋派建筑师、包豪斯领军人物格罗皮乌斯提出的"全面剧场"方案。分析两个剧院设计可以看到,世纪更迭之际,建筑学领域的"总体艺术"理念始终试图以"建筑"复苏社会和艺术的公共性;而对于"机器"在此过程中可能扮演何种角色,不同阶段的设计者则抱有不同的理解,折射出"总体艺术"作为一个现代理想的复杂与矛盾性。

In the 19 th century,with the process of modernization and industrialization,the division in labour and differentiation of disciplines deepened.This trend gave rise to the call for the"total work of art",which proposed to unite architecture,drama,music and other forms of artistic expression,and ultimately integrate art and society.The musician Richard Wagner implemented the concept in Bayreuth Festspielhaus,which produced profound impacts on architectural theories and design afterward,including the design of"Total Theatre"by Walter Gropius.Learning from the two cases,it can be found that at the turn of the century,spatial practices of the"total work of art"continued to emphasize the sense of public sphere artistically and socially.Meanwhile,different views toward the possible roles played by machine indicates the complexity and contradiction of the modern concept.