从戏剧剧场到后戏剧剧场:谢弗“剧场性”新探

Title:From Dramatic Theater to Post-Dramatic Theater:New Attempts to Understand Peter Shaffer’s Theatricality

当代英国剧作家彼得·谢弗以严肃主题和异乎寻常的大众感召力著称,其作品不仅享誉欧美剧坛,在中、韩等亚洲国家也深受欢迎,引起了国内外研究者的关注。然而,囿于精英主义的影响和传统研究视角的桎梏,现有研究对于其创作的核心特质尚未给出完全令人信服的阐释。本文拟借助德国学者雷曼的后戏剧剧场理论,在当代戏剧发展的脉络中对其创作理念与实践做进一步考察,以期从戏剧形态、审美定位、舞台呈现、演员赋权四方面对上述问题提供一些新的线索。

Peter Shaffer,arguably the most popular serious playwright in contemporary British and American theater,aroused much interest in Asian countries including China and Korea,where his plays have constantly been staged or adapted in recent years.However,existing scholarship has not yet produced an absolutely convincing interpretation for his theatricality,the definitive quality in his dramaturgy,due to the impact of elitism and limitations in traditional critical approaches.This essay intends to use Hans Lehmann’s theory of post-dramatic theater to conduct further research on Shaffer’s dramatic vision and practice,in the hope of providing some new clues to his theatricality from the following aspects:dramatic form,aesthetic orientation,stage presentation and actor empowerment.