Theatricality: The Specificity of Theatrical Language
Theatricality: The Specificity of Theatrical Language
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戏剧性：戏剧语言的特殊性
DOI：
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发表时间：
2002
期刊：
影响因子：
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通讯作者：
Ron Bermingham
中科院分区：
文献类型：
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作者：
Josette Féral;Ron Bermingham
对戏剧性或戏剧的特殊性的界定，不仅是试图界定戏剧与其他类型戏剧的区别，也是试图界定戏剧与其他类型的舞蹈、表演艺术或多媒体艺术的区别，而是要在个体戏剧实践、舞台剧理论和美学的背景下聚焦戏剧本身的本质。它试图找到自古以来所有戏剧企业所共有的参数。虽然这样一个项目可能看起来过于雄心勃勃，但其相关性要求试图建立这样一个定义。本文就是这样一个步骤，力求为以后的反思建立参考点。在20世纪，戏剧的基础被颠倒了，就像其他艺术一样。在世纪末，戏剧美学被定义得很清楚，它勾勒出了规范性的实践，而在世纪，它又被系统地重新审视。与此同时，舞台实践开始远离文本，在戏剧事业中赋予它一个新的位置。一旦受到围攻，文本就不再能够保证舞台的戏剧性。因此，可以理解的是，那些相关人士开始质疑戏剧行为本身的特殊性，特别是因为这种特殊性似乎影响了其他舞台实践，如舞蹈，表演艺术，歌剧等。戏剧性在与戏剧无关的领域的出现似乎是一个必然结果，打破了流派之间的界限，打破了实践之间的正式区别，从舞蹈剧场到多媒体艺术，包括事件，表演和新技术。戏剧的特殊性越来越难以界定。在某种程度上，壮观和戏剧获得了新的形式，戏剧，突然去中心化，不得不重新定义自己。那么，我们今天该如何定义戏剧性呢？我们应该用单数还是复数来谈论它？戏剧性是一种属于戏剧的独特属性，还是也可以在希腊语中找到？作为一种品质-
To define theatricality, or the specificity of the theater, is not only to attempt to define what distinguishes theater from other genres, but to define what distinguishes it from other kinds of spectacle-dance, performance art, or multi-media art. It is to bring the nature of theater itself into focus against a background of individual theatrical practices, theories of stage-play, and aesthetics. It is to attempt to find parameters shared by all theatrical enterprises from time immemorial. Although such a project may appear overly ambitious, its pertinence requires an attempt to establish such a definition. This article is such a step, seeking to establish points of reference for subsequent reflection. During the 20th century, the very foundations of theater were turned upside-down, as were those of other arts. What had been a clearly defined theatrical aesthetic at the end of the 19th century, outlining normative practice, was, during the 20th century, systematically reexamined. At the same time, stage practice began to distance itself from the text, assigning it a new place in the theatrical enterprise.2 Once under siege, the text was no longer able to guarantee the theatricality of the stage. Thus, it is understandable that those concerned began to question the specificity of the theatrical act itself, especially since this very specificity appeared to influence other stage practices as welldance, performance art, opera, and so on. The emergence of theatricality in areas tangentially related to the theater seems to have as a corollary the dissolution of the limits between genres, and of the formal distinctions between practices, from dance-theater to multi-media arts, including happenings, performance, and new technologies. The specificity of theater is more and more difficult to define. To the extent that the spectacular and the theatrical acquired new forms, the theater, suddenly decentered, was obliged to redefine itself.3 From that time on, its specificity was no longer evident. How then are we to define theatricality today? Should we speak of it in the singular or in the plural? Is theatricality a property that belongs uniquely to the theater, or can it also be found in the quotidian? As a quality-