【摘要】：作為人類文化發(fā)展的重要象征，劇場建筑的發(fā)展受到表演藝術(shù)、劇場技術(shù)、社會(huì)環(huán)境等多個(gè)方面的影響。 新的時(shí)代背景下，各種表演形式的界限變得相對(duì)模糊，表演藝術(shù)之間相互學(xué)習(xí)、借鑒，朝著多元化的方向發(fā)展。很多表演形式在當(dāng)前社會(huì)條件下進(jìn)一步消費(fèi)化，觀眾重“體驗(yàn)”、“視覺”而輕“文本”、“情節(jié)”，使得一些演出并不是必須要在視覺和聽覺等多個(gè)方面都達(dá)到完美的情況下才能運(yùn)作，中國的老百姓也不是每個(gè)人都有專業(yè)的劇場需求。劇院文化原本來自西方，我們需要了解和參與這種演出活動(dòng)和生活方式，但是并不需要大量建設(shè)標(biāo)準(zhǔn)配置的西方“大劇院”，而應(yīng)該更多地考慮中國實(shí)情，提高劇場的演出效率，增加平民的參與度。 我國90年代以后建成的劇場大多數(shù)都是采用單一經(jīng)營方式的專業(yè)劇場，這些劇場商業(yè)演出場次嚴(yán)重不足，往往通過政府和企業(yè)贈(zèng)票的方式維持經(jīng)營。專業(yè)劇場在一定程度上無法滿足不同表演藝術(shù)形式對(duì)空間的不同需求，市場經(jīng)營的迫切形勢(shì)又導(dǎo)致劇場改革勢(shì)在必行。 本文以筆者在清華大學(xué)建筑設(shè)計(jì)研究院參與實(shí)際項(xiàng)目為切入點(diǎn)，從空間界面的視角對(duì)可變劇場的空間設(shè)計(jì)進(jìn)行了重點(diǎn)探討，提出了動(dòng)態(tài)觀演空間的概念。并通過較為詳盡的基礎(chǔ)研究和案例分析論證了可變界面對(duì)于演出活動(dòng)的重要改變，展望了垂直舞臺(tái)劇場、可分式劇場、透明劇場等多種觀演空間的發(fā)展。 論文首先分析了不同觀演活動(dòng)對(duì)于劇場空間的不同需求，通過對(duì)比分析相關(guān)劇場案例，總結(jié)出不同類型劇場的空間特點(diǎn)和觀演關(guān)系，指出其相互轉(zhuǎn)化的可能性。隨后提出可變劇場實(shí)現(xiàn)的必要條件和帶來的相關(guān)問題，明確設(shè)計(jì)需要解決的核心問題。在此基礎(chǔ)上，重點(diǎn)研究了劇場內(nèi)界面、中間界面和外界面的變化帶來的觀演模式的轉(zhuǎn)變，通過對(duì)機(jī)械設(shè)備、活動(dòng)座席、活動(dòng)隔斷等核心技術(shù)問題的研究，探討了劇場核心空間的適應(yīng)性。總結(jié)提出可變劇場的設(shè)計(jì)規(guī)律，并運(yùn)用于懷柔影視基地新媒體劇場實(shí)際項(xiàng)目。 本文采用自下而上的研究方法，，以案例為基礎(chǔ)、劇場技術(shù)為支撐，逐步得出一般性的結(jié)論，具有一定的創(chuàng)新意義。
[Abstract]:As an important symbol of the development of human culture, the development of theatre architecture is influenced by performing arts, theater technology, social environment and so on. Under the background of the new era, the boundaries of various forms of performance become relatively blurred, the performing arts learn from each other, and develop towards the direction of diversification. Many forms of performance are further consummated under the current social conditions, with viewers emphasizing "experience", "vision" rather than "text", "plot", Some performances do not have to be perfect in many ways, such as vision and hearing, and not everyone in China has professional theater needs. Theater culture originally came from the West, and we need to understand and participate in this kind of performance activities and lifestyle, but we do not need to build a large number of standard allocation of Western "Grand Theater", but should take more account of the reality of China. Improve the performance efficiency of the theater, increase the participation of civilians. Most of the theatres built in our country after the 1990s are professional theatres with a single management mode. These theatres are badly short of business performances and are often maintained by the way of government and enterprises giving tickets. To a certain extent, professional theatres can not meet the different demands for space of different performing art forms, and the urgent situation of market management leads to the imperative of theater reform. Based on the author's participation in the actual project at the Institute of Architectural Design of Tsinghua University, this paper focuses on the space design of the variable theatre from the perspective of spatial interface, and puts forward the concept of dynamic viewing space. Through detailed basic research and case study, this paper demonstrates the important changes of the variable interface to the performance activities, and looks forward to the development of the perpendicular stage theater, the divisible theatre, the transparent theater and so on. Firstly, the paper analyzes the different demands of different theatrical activities for the theater space, through comparative analysis of the relevant theater cases, summarizes the space characteristics and performance relations of different types of theatres, and points out the possibility of their mutual transformation. Then, the necessary conditions and related problems of variable theater realization are put forward, and the core problems that need to be solved in design are defined. On this basis, the paper focuses on the changes in the performance mode caused by the changes in the internal interface, the intermediate interface and the outside surface of the theater, and through the study of the core technical issues, such as mechanical equipment, active seats, active partitions, and so on. The adaptability of the core space of the theater is discussed. The design rule of variable theater is summarized and applied to the actual project of new media theater in Huairou film and television base. This article adopts the bottom-up research method, based on the case, the theater technology as the support, draws the general conclusion step by step, has the certain innovation significance.
【學(xué)位授予單位】：清華大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：TU242.2

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