算法时代的“直言剧场”——论文慧生活舞蹈工作室作品

On “Parrhesia Theater” in Algorithmic Era——On Wen Hui and her Living Dance Studio

本文聚焦于中国编舞家、剧场艺术家文慧及她的生活舞蹈工作室1994年至今的创作,涵盖了"直言剧场"、后女性主义的性别行动、新的主体建构和媒介时代下的"直言",从这几个维度深刻阐释了文慧的创作和当下时代的关系。文章的分析涉及她的剧场语言、身体运用和主体重建,以及她的编舞手法,通过这几个丰富层面的梳理,论证文慧的创作作为当代国内剧场不可或缺的存在,解析她作品里的批判性和她介入并建构剧场共同体的力量。文章最后谈论媒介时代的"直言"和保证"直言"的权利在当代公共空间中的重要性,以及艺术剧场与社会剧场如何在生活舞蹈工作室的创作中融汇于一体。文慧持之以恒地开创了算法时代新的艺术伦理法则,使剧场成为人类世的逆熵联合体所在。

This paper examines the critically acclaimed productions of famed Chinese choreographer and theatre artist Wen Hui and her living dance studio, covering the parrhesia theater, gender action from post-feminism, new subject construction and parrhesiastes in the media age. Arguing for the existence of Wen Hui as an indispensable Chinese contemporary theater, The paper examines Wen Hui’s dance theatre style, contemporary movement and subjectile, her choreography style, critical thinking and innovation in her choreography, her prowess in collaborating and building a thriving theater community in China, and the pivotal role she plays in ensuring the right of parrhesia in public sphere. Wen Hui and her living dance studio have clearly created new art ethics values and successfully integrated art theatre with social theatre in the algorithmic era. She makes theater become the negentripic combination in the Anthropocene.