从舞台与观众的关系看当代戏剧对“真实”的描述——克劳德·雷吉(Claude Régy)戏剧美学初探

The Description of″Realness″in Contemporary Drama from the Relationship between Stage and Audience——A First Look at the Claude Régy′s Dramatic Aesthetics

通过对法国当代著名导演克劳德·雷吉(Claude Régy)的戏剧美学观的阐释,探索舞台与观众的交流和戏剧对“真实”的描述之间的关系。作为20世纪西方颇具代表性的先锋导演,雷吉的戏剧美学观是当代西方戏剧对于那种建立在“逼真”与“摹仿”(mimèsis)基础上的亚里士多德式古典戏剧的质的转变的具体体现。此转变,表面体现为戏剧形式的革新,本质却在重建戏剧与真实世界间的关系,即如何透过戏剧这一可感的艺术形式,让“真实”在剧场中、在舞台与观众间无亏损地流通,使在由语言、意识形态所构成并限定的现实生活中所不可见的“真实”得以被感知。由此,试图打破对西方戏剧现代性即现代形式的一般理解,从而展现戏剧形式变革背后的现代与现实意义。

Through the interpretation of the dramatic aesthetics of the famous contemporary French director Claude Régy, this paper explores the relationship between the stage-audience ″communication″ and the depiction of ″realness″ in the contemporary dramas. As a representative pioneering director in the West in the 20 th century, Régy′s dramatic aesthetics is the concrete expression of a ″qualitative transformation″ in contemporary Western theatre towards the Aristotelian classical theatre based on ″vraisemblance″ and ″mimesis″. This ″transformation″, ostensibly expressed as a change in form, essentially attempts to reconstruct the relationship between the theatre and the real world. That is, how to make the ″realness″ circulate ″without loss″ in the theatre between the stage and audience ″through″ drama-a ″perceptible″ art form, so that the ″invisible″ contents in the real life constituted and defined by language and ideology can be perceived. Thus this paper attempts to break down the general understanding of the ″modernity″ as ″modern form″ in the Western drama, so as to reveal the modern and realistic significance behind the reform of the dramatic form.