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

我们考虑的是剧场中时间和空间的鲜明特征1)在空间上，我们指出了它的“模棱两可”。摄像机可以通过近距离或远距离拍摄物体的图像，胶片中的空间是灵活的。相反，舞台上的空间是确定和固定的。观众不由自主地看到了不必要的东西。但是那些不必要的事情呢？他们常常传授戏剧中最真实、最深刻的意义。剧场空间的僵化带有模棱两可的意味，并导致剧场在时间上拥有巨大的自由；我们指出了它的流畅性。一般来说，剧院里的临时演员也被认为是僵化的。但是，许多当代剧作家，例如彼得·谢弗(《阿马迪乌斯》)，在戏剧中的时间是非常免费的。时间尽可能自由地变化。戏剧时间的流畅源于现实生活中现代戏剧的抽象结构。3)关于异化，我们指出了当代戏剧中新的制度化的异化。剧院里有两种交流，一种是演员之间的交流，另一种是演员和观众之间的交流。大多数观众把这两个人搞混了。这就是为什么贝尔托尔特·布莱希特克认为异化是必要的。他经常用“戏中戏”的方法。然而，实现异化的途径现在是多种多样的。例如，在井上久志的一部作品中，一个演员在《戏中戏》中扮演了几个不同的角色。

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".