试论金士杰一九八零年代戏剧作品
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摘要
无论是《荷珠新配》的戏曲程式保留,《家家酒》中叙述者的加入以及不出场的声音,与布莱希特的叙述体戏剧有不谋而合之处,还是《悬丝人》的彻底告别以说话为主的戏剧,完全用演员的肢体与观众的想像力交流,金士杰作品中剧场性的体现是很明显的,可以说,他是导演式的剧作者,同时,因为他也有演员的身份,故,他的作品更加体现了戏剧有别于其他艺术的特性——剧场性,于是,当我们在阅读他的剧本时,必须采取新的角度,即要看它是否为演出作了剧场性的条件,或者具体的舞台提示。
通过对金士杰一九八零年代部分有代表性戏剧作品的详细分析,以及作品中提炼出来的主要特征的总结,不难发现,由于艺术家的独特气质,他所孕育的作品中体现了肢体性创作与传统元素相融合的戏剧美学。金士杰不但进行了实验探索,而且完成了较为成功的实验,即沿袭了中国传统戏曲中的身段运用,发挥了舞台假定性,突出演员表演为主,舞台尽量简化,又紧随西方贫困戏剧的主张。
“He Zhu Xin Pei”reserves the Chinese traditional opera program ."Jia Jia Jiu" keep the narrator and the sounds that belonged to character who doesn’t appear in the play, which is smililar to the Brecht's narrative drama.“Poupet”makes full use of the physical body to communicate with the audience’s imaginations in order to take place of the drama with dialogues. Those three plays represent the“thearicism”which is obvisously rooted in the dramatic works by Jin Shi Jie. In a word,he is a playwriter with the feature of director,meanwhile, he is also an actor. The combination of those three roles makes thearicism of his play stand out.Therefore,when we read the text of his play,we should adopt a new perspective,which is more focus on the stage tips.
After the analysis of the representive dramatic works which were written in 80s ,it’s not difficult to draw the conclustion that his plays are based on the mixture of the physical theatre and the elements of traditional opera.Jin Shi Jie not only had an experiment in the contemporary theater field,but also succeeded in it.He used the body pattern in Chinese traditional opera in his play, on the other hand, he still followed the idea of“poor theater”which highlights the acting and also suggest to simplify the stage set .
通过对金士杰一九八零年代部分有代表性戏剧作品的详细分析,以及作品中提炼出来的主要特征的总结,不难发现,由于艺术家的独特气质,他所孕育的作品中体现了肢体性创作与传统元素相融合的戏剧美学。金士杰不但进行了实验探索,而且完成了较为成功的实验,即沿袭了中国传统戏曲中的身段运用,发挥了舞台假定性,突出演员表演为主,舞台尽量简化,又紧随西方贫困戏剧的主张。
“He Zhu Xin Pei”reserves the Chinese traditional opera program ."Jia Jia Jiu" keep the narrator and the sounds that belonged to character who doesn’t appear in the play, which is smililar to the Brecht's narrative drama.“Poupet”makes full use of the physical body to communicate with the audience’s imaginations in order to take place of the drama with dialogues. Those three plays represent the“thearicism”which is obvisously rooted in the dramatic works by Jin Shi Jie. In a word,he is a playwriter with the feature of director,meanwhile, he is also an actor. The combination of those three roles makes thearicism of his play stand out.Therefore,when we read the text of his play,we should adopt a new perspective,which is more focus on the stage tips.
After the analysis of the representive dramatic works which were written in 80s ,it’s not difficult to draw the conclustion that his plays are based on the mixture of the physical theatre and the elements of traditional opera.Jin Shi Jie not only had an experiment in the contemporary theater field,but also succeeded in it.He used the body pattern in Chinese traditional opera in his play, on the other hand, he still followed the idea of“poor theater”which highlights the acting and also suggest to simplify the stage set .
引文
3吴静吉台湾心理学博士,曾赴美留学,在纽约“拉玛玛实验剧场”(la mama experimental theater club)见习、演出,学习了西方现代剧场肢体语言的训练方法。
4金士杰,戏剧馆《金士杰剧本》,远流出版股份有限公司,2003,p.3.
5吴静吉,“推荐二”,戏剧馆《金士杰剧本》,远流出版股份有限公司,2003,p.2.
8高行建,〈论戏剧观〉,《戏剧界》1983年1期,p29.
9赖声川,“推荐二”,戏剧馆《金士杰剧本》,远流出版股份有限公司,2003,p.1
10金士杰,戏剧馆《金士杰剧本》,远流出版股份有限公司,2003,p.3
12引自《笑——论滑稽的艺术》柏格森,徐继曾译,北京十月文艺出版社,2005,p30.
15 Jacques Acan,“Sign,Symbol,Imagery”,in(ed) M.Blonsky《On signs:A Semiotic Reader》,Oxford:Blackwell 1985,p.205.
16 Susan Melrose,《A Semiotic of Dramatic Text》,London:Mcmillan,1994,p206.
22 Goat island:CJ.Mitchell,Bryan Saner,Karen Christopher,Mark Jeffery,Matthew Goulish and Lin Hixson ,《Theatre in Crisis?》,Manchester University Press,2002:241.
1.柏格森《笑——论滑稽的艺术》,徐继曾译,北京十月文艺出版社,2005。
2. David Cole《the theatrical event:A Mythos,A vocabulary,A perspective》Middleton,Coon。:Wesleyan university Press,1971。
3.弗莱等著《春天:喜剧的神话》,中国戏剧出版社,1992。
4.高行建,〈论戏剧观〉,《戏剧界》1983年1期。
5. Goat island:CJ.Mitchell,Bryan Saner,Karen Christopher,Mark Jeffery,Matthew Goulish and Lin Hixson《,Theatre in Crisis?》,Manchester University Press,2002.
6. Jacques Acan,“Sign,Symbol,Imagery”,in(ed) M.Blonsky《On signs:A Semiotic Reader》,Oxford:Blackwell ,1985.
7.金士杰,戏剧馆《金士杰剧本》,远流出版股份有限公司,2003。
8.拉尔夫皮丁顿《笑的心理学》,潘智彪译,中山大学出版社,1988。
9.麻文琦《欧洲戏剧类型研究》,中国戏剧出版社,2003。
10.普罗普《滑稽与笑的问题》,辽宁教育出版社,1998。
11. Richard Hornby,《Drama,Metadrama and Perception》,London:Associate University Press,1986.
12. Susan Melrose,《A Semiotic of Dramatic Text》,London:Mcmillan,1994.
4金士杰,戏剧馆《金士杰剧本》,远流出版股份有限公司,2003,p.3.
5吴静吉,“推荐二”,戏剧馆《金士杰剧本》,远流出版股份有限公司,2003,p.2.
8高行建,〈论戏剧观〉,《戏剧界》1983年1期,p29.
9赖声川,“推荐二”,戏剧馆《金士杰剧本》,远流出版股份有限公司,2003,p.1
10金士杰,戏剧馆《金士杰剧本》,远流出版股份有限公司,2003,p.3
12引自《笑——论滑稽的艺术》柏格森,徐继曾译,北京十月文艺出版社,2005,p30.
15 Jacques Acan,“Sign,Symbol,Imagery”,in(ed) M.Blonsky《On signs:A Semiotic Reader》,Oxford:Blackwell 1985,p.205.
16 Susan Melrose,《A Semiotic of Dramatic Text》,London:Mcmillan,1994,p206.
22 Goat island:CJ.Mitchell,Bryan Saner,Karen Christopher,Mark Jeffery,Matthew Goulish and Lin Hixson ,《Theatre in Crisis?》,Manchester University Press,2002:241.
1.柏格森《笑——论滑稽的艺术》,徐继曾译,北京十月文艺出版社,2005。
2. David Cole《the theatrical event:A Mythos,A vocabulary,A perspective》Middleton,Coon。:Wesleyan university Press,1971。
3.弗莱等著《春天:喜剧的神话》,中国戏剧出版社,1992。
4.高行建,〈论戏剧观〉,《戏剧界》1983年1期。
5. Goat island:CJ.Mitchell,Bryan Saner,Karen Christopher,Mark Jeffery,Matthew Goulish and Lin Hixson《,Theatre in Crisis?》,Manchester University Press,2002.
6. Jacques Acan,“Sign,Symbol,Imagery”,in(ed) M.Blonsky《On signs:A Semiotic Reader》,Oxford:Blackwell ,1985.
7.金士杰,戏剧馆《金士杰剧本》,远流出版股份有限公司,2003。
8.拉尔夫皮丁顿《笑的心理学》,潘智彪译,中山大学出版社,1988。
9.麻文琦《欧洲戏剧类型研究》,中国戏剧出版社,2003。
10.普罗普《滑稽与笑的问题》,辽宁教育出版社,1998。
11. Richard Hornby,《Drama,Metadrama and Perception》,London:Associate University Press,1986.
12. Susan Melrose,《A Semiotic of Dramatic Text》,London:Mcmillan,1994.
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