作为事件的戏剧集体创作:历史、进路与意义

Collective Creation as an Event: History, Path, and Significance

兴盛于二十世纪六七十年代的戏剧集体创作,作为一种激进而持续的内在变革力量,打破了语言戏剧稳固的中心地位,为审视和认识戏剧本体提供了一种新的视角与方法,因而成为西方戏剧史上无法回避的重要事件。作为事件的戏剧集体创作这一命题既已提出,集体创作的发生、创作意图、发展路径、内部相互影响,以及对后世戏剧创作的影响是需要被探究与讨论的问题。作为事件的集体创作是一场对戏剧功用、戏剧创作以及戏剧本体进行叩问的尝试:它既是“断裂”,也是“生成”,并最终以丰富多元的表演美学理论与方法导向戏剧艺术的未来。

As a radical and continuous internal reform force, collective creation, which flourished in the 1960 s and 1970 s, breaks the firm central position of linguistic drama in theatre, and provides a new perspective and method for examining and understanding the essence of theatre. Therefore, it has become an important event in the history of western theatre. Since the proposition of collective drama creation as an event was put forword, the occurrence, intention, process, mutual influence and influence on later generations of collective creation have become issues that are in need of exploration and discussion. Collective creation, which serves as an event, is an attempt to question the function of theatre, its creation and theatre itself. Collective creation is both a “breaking” and a “becoming”, ultimately leading to the future of theatre art with its rich and diverse performance aesthetic theories and methods.