西方肢体表演探析:哑剧、默剧的发展及其在中国的接受

An Analysis of Western Body Performance:Development of Pantomime and Mime and Their Reception in China

肢体表演在当代戏剧视域下越发重要,从阿尔托的“残酷戏剧”到姆努什金的舞台创作,都对肢体表演赋予了新意。后现代舞台导演创作的一个重要环节是对演员表演技能包括身体训练的提升。肢体表演的手段源于东西方传统戏剧(如戏曲、哑剧),需以当下戏剧创作的新理念进行再探索。沿着古罗马哑剧、意大利假面喜剧、法国现代白面哑剧及欧美当代肢体默剧的线索,探析西方肢体表演的发展流变,梳理哑剧、默剧概念在中国的接受,解读法国哑剧大师菲利普·比佐在中国的肢体表演训练要义,古为今用,东西合璧,融会贯通,这是当代戏剧家追求的一个新境界。

Having been endowed with new ideas from Artaud’s“Theatre of Cruelty”to the productions of Mnouchkine,body performance becomes increasingly important in contemporary theatre.An important aspect of post-modern stage direction is the enhancement of actors’performance skills,including body training.Derived from traditional Eastern and Western theatres(such as Xiqu and pantomime),the means of body performance are in need of re-exploration with new ideas of contemporary theatre creation.Following the threads of ancient Roman mime,Italian commedia dell’arte,modern French white-faced mime and contemporary physical pantomime in Europe and America,this paper explores the evolution of Western body performance,reviews the acceptance of the concepts of pantomime and mime in China,and explains the key points of body performance training given by the French mime master Philippe Bizot in China.It is a new realm where contemporary dramatists try to build on past achievements and to integrate merits from the East and the West.