论跨文化戏剧表演事件中的观看生成——以《精灵女王》和《红与黑》的中国改编为例

On the Becoming of Spectatorship in Intercultural Theatre:A Case Study of the Chinese Adaptations of The Fairy Queen and Le Rouge et Le Noir

西方跨文化戏剧第三次浪潮十分关注非主流与西方外跨文化剧场实践中的表演事件。当代剧场的表演事件研究从以表演者身体为中心的观众体验转向纳入非人材料的情动考察,这说明跨文化戏剧的事件性不仅与观看体验有关,还与表演者、观演者和非人材料共同构成的存现性相关。以《精灵女王》和《红与黑》这两部乌镇戏剧节上演的经典改编为例,前者利用湖水、建筑和技术等媒介完成了环境与观众身体的情动交换,使观看主体实现了内在互动的跨文化感知联结,后者运用摄像机、油画、实时影像等媒介促使观演者在情动式选择中悬置既有观念,生成与媒介具有主体间性的后人类观看模式。研究表明,物与人的互动在跨文化戏剧中不只是审美交换,还有施动材料的见证,它引导观众对物质文化遗产和新技术在传承中外经典中的价值产生新的思考。

The third wave of Western intercultural theatre revolves around“performance event”in non⁃mainstream and non⁃West intercultural theatre practices.The fact that the study of“performance event”is shifting from audience⁃oriented experience that focuses on the performer's body to non⁃human⁃incorporated affection suggests that event⁃based studies of intercultural theatre are concerned with the co⁃presence of the performer,the spectator and the non⁃human materials as well as the forms of spectatorship.The Fairy Queen and Le Rouge et Le Noir,two adaptations of the classics staged at the Wuzhen Theatre Festival serve as examples.The former adopts such media as lake,architecture and electronic media to trigger affect exchanges between the environment and the audience's body,enabling the spectators to achieve an interconnected intercultural perception in intra⁃activities,while the latter employs the media of camera,oil painting and real⁃time video to suspend the spectators'existing perceptions and replace them with an affective choice in which an inter⁃subjective mode of posthuman spectatorship is generated.This study shows that the object⁃human interactions in the intercultural theatre cannot be merely seen as an aesthetic exchange,but involves the agency of the media who has participated in spectators'witness to the value of tangible cultural heritage and new technologies in the circulation of Chinese and foreign classics.