论“吸引力戏剧”与“元蒙太奇”

Theater of Attraction and Meta-montage

“吸引力戏剧/蒙太奇”是苏俄戏剧人在俄罗斯未来主义美学引领下,以“并列、意合”的舞台手段将“马戏—戏剧”融创为现代戏剧的观念与方法,相对苏联蒙太奇学派核心观念构成来说具有“元蒙太奇”意义,作为俄罗斯未来主义美学的精神化身和未来派戏剧的“元”精灵栖息在“戏剧—电影”之间。“吸引力戏剧/蒙太奇”并非爱森斯坦个人的理论建树,其作为“元蒙太奇”的价值是俄罗斯未来主义美学与戏剧实践的智慧结晶。

The “theater of attraction/montage” was a modern theatrical concept and method pioneered by Soviet theater practitioners under the guidance of Russian Futurist aesthetics, following the stage method of “juxtaposition and meaningful combination”, significant in terms of the “meta-montage” in relation to the core concepts of the Soviet montage school. As the spiritual embodiment of Russian Futurist aesthetics and the “meta” style of Futurist theater, the form inhabits a space between theater and film.While the “theater of attraction/montage” was not Eisenstein’s personal theoretical creation, its value as “meta-montage” represents the wisdom of Russian Futurist aesthetics and theater practice.