具身感的临界与断裂——“观演性”视域下戏剧演出与电子游戏“表演性”的比较研究

Liminality and Fracture of the Sense of Embodiment: A Comparative Study of the “Performativity” of Theatre Performance and Computer Games from a Perspective of Spectatorship

“表演性”不仅是传统戏剧演出的本质属性,而且也是作为“赛博戏剧”的电子游戏在“演出”实践中重要的本体论问题。“表演性”的生成与展开在现象学层面上受到“观演性”以及与之相关的具身感的建构与接受机制的深刻制约。如果说传统戏剧中基于“观演分离”的“扮演”带来了“具身”与“非具身”之间的临界转换,那么电子游戏中以“观演融合”为基础的“操演(作)”则切断了“具身”与“非具身”的联结。相较于电子游戏的“表演性”造成的无“思”状态,传统戏剧演出的“表演性”在主体间触发的“思”与“思”的融合所具有的社会变革潜力在数字时代仍然应该得到我们的珍视。

“Performativity” is not only an essential quality of traditional theatre performance, but also an important ontological issue within the “performance” practice of computer games as a kind of “cyber-theatre”. The emergence and unfolding of “performativity” are greatly regulated at the phenomenological level by the state of spectatorship and its associated mechanism for the construction and reception of the sense of embodiment. While the “impersonation” in traditional theatre performance, which is based on the “division of performing and spectating”, brings about a liminal transformation of “embodiment” and “disembodiment”, the “operation” in computer games, which is based on the “integration of performing and spectating”, cuts off the link between “embodiment” and “disembodiment”. Compared to the condition of “no mind” caused by the “performativity” of computer games, the fusion of minds among different subjects triggered by the “performativity” of traditional theatre performance has the potential for social reform, which should still be cherished in the digital age.