后戏剧剧场中的《哈姆雷特》

Hamlet in Post-dramatic Theatre

后戏剧剧场取消了文本在剧场权力结构中的统领地位,但并不排斥文本本身。当戏剧剧场的经典文本进入后戏剧剧场,它就不再呈现为一个封闭的戏剧性世界,而是为自我反思性的符号使用敞开了空间。罗伯特·威尔逊的《哈姆雷特:一场独白》、波兰山羊之歌剧团的《哈姆雷特评论》、丹麦共和剧团与英国老虎百合乐队合作的《老虎百合演出〈哈姆雷特〉》、爱尔兰盼盼剧团的《排练,扮演丹麦人》、英国强制娱乐剧团的《全集:桌上莎士比亚》等案例显示,后戏剧剧场在打破戏剧性框架之后,强调了莎士比亚文本中的独白和声音,彰显了演出的现场性和作为事件的意义,这些都是在戏剧剧场中曾经被遮蔽的维度。

Post-dramatic theatre removes the overarching position of text in the power structure of theatre, but it does not exclude the text itself. When a classic text of dramatic theatre enters post-dramatic theatre, it does not present itself as a closed dramatic world any longer, but opens up space for self-reflexive signification. Cases such as Robert Wilson’s Hamlet: A Monologue, the Polish company Songs of the Goat’s Hamlet — A Commentary, the Danish theatre company Republique and the British musical trio the Tiger Lillies’ coproduction The Tiger Lillies Perform Hamlet, the Irish Pan Pan Theatre Company’s The Rehearsal, Playing the Dane, and the British company Forced Entertainment’s Complete Works: Table Top Shakespeare show that by breaking the dramatic framework, post-dramatic theatre develops monologue and sound in Shakespeare’s plays, manifests the liveness of performances and the significance as events, all of which are dimensions obscured in dramatic theatre.