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Time & Space on the Stage--- their Realization and Structure.

时间

基本信息

批准号：
60450005
负责人：
ABE Koichi
金额：
$ 3.07万
依托单位：
Kobe Gakuin Women's College
依托单位国家：
日本
项目类别：
Grant-in-Aid for General Scientific Research (B)
财政年份：
1985
资助国家：
日本
起止时间：
1985 至 1987
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/en/grant/KAKENHI-PROJECT-60450005/
关键词：
Time on the stage Space on the stage Eguimocation Fluencv Dissimilation Spectator 演技劇場舞台時間舞台空間舞台言語現実

项目摘要

Our considerations is on the distinct characters of the time and space inthe theatre.1) On the space; we pointed out its "equivocation". A camera can take the images of an object, by close-up shots or by long-shots, at various distances The space in a film is flexible. On the contrary, the space on a stageis determined and fixed. The spectator cannot help seeing the unnecessary things. But the things unnecessary? They often teveal the true, deepest meaning in a drama. The inflexibility of the space in a theatre bears an equivocation, and leads to a vast freedom in a theatre.2) On the time; We pointed out its fluency". The tme in a theatre is considered, in general, to be also inflexible. But, many contemporary dramatists,e.g.Peter Shaffer("Amadeus"),made the time in a drama very free. The time changes as freely as possible. The fluency of a theatre time owes to the abstract structure of a "modern" drama in our real life.3) On the dissimilation; We pointed out the newly systematized dissimilation in the contemporary theatre. There are two communications in a theatre, one is among actors, the other is between actors and spectators. Most of the spectators confound these two. This is why Bertolt Brechtc claimed the necessity of the dissimilation. He often used "a play within a play" methodes. However, the ways of a realization of the dissimilation are various now. For example, in a work of Hisashi Inoue, an actor plays several different roles in "a play within a play".

我们的思考是在戏剧的时间和空间的独特性上：1）在空间上，我们指出了它的“模糊性”。照相机可以在不同的距离上用近景或远景拍摄一个物体的图像。相反，舞台上的空间是确定和固定的。旁观者不能不看到不必要的东西。但不必要的东西？他们经常揭示戏剧中真实的、最深刻的意义。剧院空间的可扩展性具有模糊性，并导致剧院的巨大自由。2）在时间上;我们指出了它的流畅性。剧院中的时间与环境通常也被认为是不灵活的。但是，许多当代剧作家，如彼得谢弗（“阿玛迪斯”），使时间在一个戏剧非常自由。时间尽可能自由地变化。戏剧时间的流畅性，源于“现代”戏剧在我们真实的生活中的抽象结构。3）论异化我们指出了当代戏剧中新出现的系统化的异化现象。在剧场里有两种交流，一种是演员之间的交流，另一种是演员与观众之间的交流。大多数观众都把这两个人搞混了。这就是布莱希特提出异化的必然性的原因。他经常使用“戏中戏”的手法。然而，异化的实现方式是多种多样的。例如，在井上恒的作品中，一个演员在“戏中戏”中扮演几个不同的角色。