“赛博超级傀儡”——戈登·克雷的身体观在“后人类”时代的超克

Cyber Uber-Marionette:The Overcoming of Gordon Craig's Views on the Body in the Age of Posthumanism

英国戏剧家戈登·克雷构想的“超级傀儡”概念隐喻了理想演员的身体所具有的纯粹的“肉/物”性,而以虚拟偶像为代表的,数字时空中的“赛博超级傀儡”的身体则是一种离身化的信息身体。从“超级傀儡”到“赛博超级傀儡”的身体景观进化标志着戈登·克雷继承与发展的实体论身体观被“后人类”时代的控制论身体观所取代,这不仅使演员的身体存在范式发生了深刻的转变,也使观众的身体被虚拟化并对观演关系造成了冲击。为了应对作为离身化“超人类”的“赛博超级傀儡”的挑战,人类演员不应该退回到“超级傀儡”意象所暗示的“前人类”状态,而是应该凭借与技术共存的强化肉体进化为一种具身化的“后人类”。

The concept of“Uber-Marionette,”proposed by the British theatre practitioner Gordon Craig,is a metaphor for an ideal performer whose body has a purely“corporeal/material”quality.In contrast,the body of Cyber“Uber-Marionette,”represented by virtual idols in digital time-space,is a kind of disembodied information body.The evolution of the body landscape from“Uber-Marionette”to Cyber“Uber-Marionette”marks a transition from substantialist views on the body,inherited and developed by Gordon Craig,to cybernetic views on the body in the age of“posthumanism”.This transformation has not only brought about a profound change in the paradigm of existence of the performer's body but has also virtualized the body of the audience and shaken the performer-spectator relationship.In order to respond to the challenges posed by the Cyber“Uber-Marionette”as a kind of disembodied“hyperhuman,”the human performer,rather than retrogressing into the state of“prehuman”implied by the image of“Uber-Marionette”,must evolve into a kind of embodied“posthuman”whose strengthened body coexists with technology.