身体的“在场”与“缺场”——新世纪以来中国话剧叙事的空间建构

The “Presence” and “Absence” of the Body: The Spatial Construction of Chinese Theatre Narrative since the New Century

身体与空间互为建构。网络社会的流动空间向中国话剧提出了身体“缺场”与“在场”的挑战,新世纪话剧由此形成了顺流而动和逆流而变两条叙事空间的变革路径。在顺流而动中,流动空间的剧场建构拓宽了“空的空间”的叙事语法;技术革新使影像与戏剧的关系变得繁杂,“以影就戏”“以戏就影”频繁亮相,“影戏相协”相对缺乏;线上戏剧的现场性实验止步于精神的共同在场,未能真正完满。在逆流而变中,身体的在场成为叙事空间建构的关注核心,身体的解符码化撬动了空间的解符码化;空间的感知被多维开掘,观演交流的建构重心也出现了从演员向观众的位移。叙事空间两条变革路径的关系是辩证的,可互为转换、支撑,没有纯粹的高下之分。

Body and space construct each other. The fluid space of the network society presents Chinese theatre with the challenge of “absence” and “presence” of the body. As a result, the theatre in the new century has formed two paths of transformation of narrative space: moving with the flow and changing against the flow. In the process of moving with the flow, the theatre construction of the mobile space has broadened the narrative grammar of “empty space”;technological innovation has made the relations between video and theatre complicated, with frequent results of “supplementing theatre with video” and “supplementing video with theatre” and the relative lack of “synergy between video and theatre”;the on-site experiments of online theatre stop at the joint presence of spirit, and are not truly completed. In the process of changing against the flow, the presence of the body has become the focus of attention in the construction of narrative space, and the decoding of the body has stimulated the decoding of the space;the perception of space has been explored in multiple dimensions, and the construction focus of actor-audience communication has also shifted from actors to audience. The relations between the two reformation paths in narrative space is dialectical. They can be transformed into each other, and can also support each other, neither of them being absolutely superior or inferior.