介入社会现实：浸没剧的越界美学

外国文学研究 ›› 2017, Vol. 39 ›› Issue (5): 145-155.

介入社会现实：浸没剧的越界美学

冯伟

出版日期:2017-10-25 发布日期:2022-06-15
作者简介:冯伟,都柏林大学圣三一学院戏剧学博士,山东大学外国语学院助理研究员,主要研究领域为跨文化戏剧和西方戏剧。
基金资助:
山东大学基本科研业务费专项资金 “爱尔兰当代戏剧与城市空间”

Immersive Theatre: Transgression and Social Intervention

Feng Wei

Online:2017-10-25 Published:2022-06-15
About author:Feng Wei received his Ph.D. degree from Trinity College Dublin, and is associate research fellow at School of Foreign Languages and Literature, Shandong University (Ji'nan 250012, China). His research interests include intercultural theatre and Western theatre. Email: arthurfw@hotmail.com
Supported by:
“Contemporary Irish Theatre and Urban Space”, sponsored by the Fundamental Research Funds of Shandong University

摘要/Abstract

内容摘要： 浸没剧是欧美方兴未艾的一种非剧场形式的戏剧,但国内对此类戏剧的探讨和介绍均流于商业类浸没剧,而忽略了其固有的社会介入功能。通过结合波瓦“被压迫者戏剧”的理念,浸没剧可以在空间和观演互动两个层面,实现介入公共议题的潜力。当代爱尔兰阿努剧团的作品《吉卜赛大篷车》便是介入式浸没剧的代表：作品将演出置于具有高度政治性的非剧场空间,从经济、政治和历史维度曝光空间中被遮蔽的现实,从而进行社会批判;同时,演出以多种观演互动的方式突破一般商业浸没剧的观演界限,并将意义重大的伦理抉择与观众的感官结合,以肉身的直接介入,激发观众参与公共议题,并最终引发对既有观念的反思。在对传统戏剧观念和形态的多重越界中,浸没剧对社会和历史批判的力度,也超越了其他先锋戏剧。

关键词: 《吉卜赛大篷车》, 阿努剧团, 浸没剧, 空间, 观演者

Abstract: Immersive theatre is a recent popular Euro-American theatrical form. In China, most studies regard it as a consumerist product and ignored its innate function of social intervention. This function can be realized by the emphasis on the creative use of space and performer-spectator interaction of immersive theatre, which conforms to the notion of “Theatre of the Oppressed” by Augusto Boal. Vardo, produced by the contemporary Irish theatre group Anu Productions, is a representative piece of politicized immersive theatre. The use of non-theatre space, through which the economic, political and historical dimensions are investigated, is effective at exposing the hidden reality therein, and furthurmore, a critique of society. Meanwhile, this performance transgresses the established performer-spectator boundary of commercialized immersive plays by combining ethical choices with spectators' senses, stimulating their immediate public participation, and finally leading to a reevaluation of established ideas. The potential of immersive theatre for social and historical intervention can be realized by a transgression of theatrical ideas and forms, which, ultimately, surpasses other avant-garde performance.

Key words: Vardo, Anu Productions, immersive theatre, space, spect-actor

冯伟. 介入社会现实：浸没剧的越界美学[J]. 外国文学研究, 2017, 39(5): 145-155.

Feng Wei. Immersive Theatre: Transgression and Social Intervention[J]. Foreign Literature Studies, 2017, 39(5): 145-155.

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