演员的“物化”——傀儡、赛博格和虚拟演员

The“Verdinglichung”of Actors:Puppets,Cyborgs,and Virtual Actors

技术的不断发展使当代舞台艺术受到“物化”现象的影响,并直接指向了在舞台上的人——演员,演员由“真人”变成与前沿科学紧密合作的“物化生命体”。从舞台上的傀儡到赛博格再到虚拟演员,通过对不同类型的“物化”的演员的分析,可以发现创作者在实际创作过程中不自觉地体现了对“物化”的演员的矛盾态度:一方面,创作者在艺术创作过程中有意识或者无意识地积极使用物质,而不自觉地促使真人演员成为被“物化”的对象;另一方面,采用物化的“非人类”演员后,创作者又担心科学技术与社会道德伦理之间会发生冲突。在技术与人类的融合越发紧密的今天,应该重新反思人类和技术的关系、人类和舞台的关系、人类和“非人类”的关系。

With the continuous development of technology,contemporary stage art has been affected by the phenomenon of“Verdinglichung”(“thingification”),especially in terms of people on stage-actors;the actor is changing from a“real person”to a“materialized organism”working closely with cutting-edge science.An analysis of different types of“Verdinglichung”of actors-from puppets to cyborgs to virtual actors-shows that creators unconsciously show their contradictory attitudes towards the“thingification”of actors in the actual creation process.On the one hand,whether consciously or not,creators actively use materials in the process of artistic creation,which unconsciously pushes real actors to become“materialized”objects;on the other hand,after adopting materialized“non-human”actors,creators are concerned about possible conflicts between science and technology and social ethics.In today's increasingly close integration of technology and human beings,it is high time to rethink the relationship between humans and technology,humans and the stage,and humans and“non-humans”.