Staging the Contemporary: Politics and Practice in Post-WarSocial Realist Theatre
Staging the Contemporary: Politics and Practice in Post-WarSocial Realist Theatre
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当代舞台：战后社会现实主义戏剧的政治与实践
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发表时间：
2011
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通讯作者：
L. Stephen
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作者：
L. Stephen
自1940年以来，社会现实主义的死亡经常被宣布，但它仍然非常活跃，并且一直是战后文化的核心，特别是戏剧。从本书中可以明显看出，这是一个丰富而复杂的术语，能够吸收各种方法和意识形态。称一部戏剧为社会现实主义者，是因为它具有政治或道德意图，涉及当代社会更黑暗、更有争议的方面，并处理可识别的社会问题。社会现实主义把我们引向我们所生活的世界，而戏剧所要表达的内容往往是通过透明的形式来实现的。社会现实主义有时意味着模仿和逼真，（在战后的戏剧辩论中被称为“自然主义”和“自然主义”）-一种旨在通过坚持其可观察的外在形式来再现现实的美学，可以通过戏剧交流和戏剧写作的方式来追溯（例如，口语，一个压缩的叙事结构成三个行为，充分实现“盒集”，“真实的”字符，灯光和声音）。当社会现实主义被拒绝时，它通常指的是这个术语的意义。然而，这里的术语，就像现实主义和自然主义一样，通常是不精确的，或者至少是可变的和不断发展的。本章的目的并不是要对这一丰富的现象进行描述，而是要在70年的时间跨度中，沿着沿着不同的路径，对它的一些最持久的特征进行追踪。虽然将按大致的时间顺序进行，但这种方法是专题性的，并不力求全面。重点主要是戏剧，已突出在英国作为一个整体，因此，不情愿地，大都市的偏见。在论证社会现实主义仍然是自1940年以来作家和戏剧从业者可用的戏剧和戏剧表现的最重要传统之一时，
The death of social realism has often been announced in the period since 1940, yet it is still very much alive and has been central to postwar culture in general, and to the theatre in particular. As is evident from this volume, it is a rich and complex term, able to absorb a variety of methods and ideologies. To call a play social realist recognizes that it has political or moral intentions, an engagement with the darker and more controversial aspects of contemporary society and deals with recognizable social issues. Social realism refers us to the world in which we live, and access to what a play is about is achieved often by a transparency of form. Social realism sometimes connotes mimesis and verisimilitude, (referred to as ‘naturalism’ and the ‘naturalistic’ in post-war theatrical debate) – an aesthetic that aims to reproduce reality by adhering to its observable, outward forms, and which may be traced across the means of theatrical communication and dramatic writing (colloquial language, for example, a compressed narrative structured into three acts, fully realized ‘box-sets’, ‘real’ characters, lighting and sound). When social realism is rejected, it is this sense of the term that is often meant. However, the terminology here, as with realism and naturalism generally, is often imprecise, or at least variable and evolving. The aim of this chapter is not to contain this profusion, but rather to trace some of its most persistent features across a seventy-year time span and along different paths. Although a rough chronology will be observed, the approach is thematic, and does not seek to be comprehensive. The focus is primarily on drama that has had prominence in the UK as a whole, and is therefore, reluctantly, metropolitan in its bias. In arguing that social realism remains one of the most important traditions of dramatic and theatrical representation available to writers and theatre practitioners since 1940,