本文關(guān)鍵詞：先鋒派戲�。簳r代病象下的疼痛和焦慮　出處：《西安音樂學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 先鋒派戲劇 時代精神 審美接受

【摘要】：“先鋒”這一概念產(chǎn)生于18世紀(jì),于19世紀(jì)后半葉被圣西門運用到藝術(shù)領(lǐng)域,用于描述在現(xiàn)代主義文化思潮中成功的藝術(shù)家所掀起的在藝術(shù)方面的各種前衛(wèi)性的運動。直到20世紀(jì)80年代,中國的藝術(shù)文化危機(jī)初現(xiàn),各個領(lǐng)域開始出現(xiàn)了先鋒思潮。在這新時期戲劇史上,孟京輝無疑是我國先鋒派戲劇的杰出代表。作為新時期所崛起的戲劇藝術(shù)家,在這二十多年來,孟京輝不斷地在戲劇領(lǐng)域進(jìn)行探索、推陳出新,在得到戲劇界和觀眾認(rèn)可的同時,也形成了極大的商業(yè)影響力,一度成為戲劇界的焦點。本文由緒論、三章正文及結(jié)語五個部分構(gòu)成。在不同層次的闡述中,以點帶面,試圖觀照與分析先鋒派戲劇的發(fā)展與意義。在緒論部分,筆者對論題相關(guān)的研究做了一個大概的介紹。第一部分:筆者在第一部分厘清了幾個概念:先鋒、先鋒派、先鋒主義、先鋒派藝術(shù),做一個理論上的、概念上的梳理。此外,簡要梳理先鋒派藝術(shù)的藝術(shù)流變以及其在中國的發(fā)展脈絡(luò)。第二部分:以孟京輝的戲劇作品為切入點,講述先鋒派戲劇在中國的生存狀態(tài)與發(fā)展走向。對于孟京輝的戲劇作品,無論在內(nèi)容主題還是舞臺形式上,都呈現(xiàn)出全新的藝術(shù)資料,關(guān)于這樣的探索。這一章節(jié)主要通過分析孟京輝導(dǎo)演在不同時期的代表作品,通過思索并分析其中所體現(xiàn)的戲劇觀念和藝術(shù)動機(jī),歸納并且概括其作品中所面對的現(xiàn)世問題�，F(xiàn)如今,時代的焦慮已經(jīng)體現(xiàn)在我們生活的各個方面,先鋒派戲劇在探索人類性的問題時,揭示了存在的荒謬感和生活的無意義感,也刺痛了時代的神經(jīng),拓寬了人們看待藝術(shù)發(fā)展的視域。此外,本章節(jié)還將從孟京輝戲劇作品的舞臺設(shè)置、演員表演以及觀眾體驗等方面進(jìn)行簡要的對比分析,探討其美學(xué)風(fēng)格的嬗變。同時,筆者將試圖通過對時代現(xiàn)象的判斷,進(jìn)一步探索這種“先鋒”的藝術(shù)觀念是否與時代的病象有所聯(lián)系。第三部分:討論先鋒派戲劇對藝術(shù)和時代的啟示。在現(xiàn)如今這樣的經(jīng)濟(jì)大潮中,藝術(shù)的市場性增強(qiáng),戲劇作品也被要求在商業(yè)性與非商業(yè)性之間做出選擇,這對于戲劇藝術(shù)家而言無疑是艱難的。既要兼顧藝術(shù)、又要考慮市場經(jīng)濟(jì),那么先鋒派戲劇的發(fā)展之路到底在哪呢?不可否認(rèn)的是,孟京輝的先鋒派戲劇取得了及其顯著的票房成績,這對戲劇在市場上的影響力提升做了不容忽視的貢獻(xiàn),所以,從審美接受角度對其戲劇作品進(jìn)行探索也有一定的必要性。此外,針對其部分作品,思考其商業(yè)化戲劇的特質(zhì),對作品進(jìn)行先鋒性的質(zhì)疑,思考其作品中的先鋒性究竟還剩下多少。結(jié)語部分簡要論述先鋒派戲劇對我們的啟示。每個時代的藝術(shù)都會體現(xiàn)特定條件下的時代特征,無論是反映當(dāng)下的時代狀況還是提示歷史的發(fā)展趨勢,都無法脫離時代這個大環(huán)境。總之,藝術(shù)的存在是一種客觀規(guī)律,從其產(chǎn)生開始就是由它自身的規(guī)律在發(fā)生作用。商品經(jīng)濟(jì)的發(fā)展催生了新的藝術(shù)形式,先鋒派戲劇不可避免的受到消費主義的浸染,文章結(jié)論部分對該現(xiàn)象進(jìn)行了反思,期望能對先鋒派戲劇作品的認(rèn)可與審美構(gòu)成新的啟示。
[Abstract]:The concept of "pioneer" produced in eighteenth Century, in the second half of the nineteenth Century is Saint Simon applied to the field of art, for a variety of avant-garde artistic success in describing the motion of modernism in the artist set off. Until 1980s, Chinese cultural crisis first began to appear in various fields, vanguard thoughts. In the history of the new period drama, Meng Jinghui is an outstanding representative of China's avant-garde drama. As the rise of the new period drama artists, in this more than 20 years, Meng Jinghui constantly in the field of drama exploration, innovation, the theater and the audience recognized at the same time, also formed a huge commercial influence. The theatre became the focus. This paper consists of introduction, three chapters and conclusion of five parts. To the point at different levels of analysis, observation and analysis, try to first The development and meaning of Feng drama. In the introduction part, the author studies on the topic related to do a general introduction. The first part: the author clarifies several concepts in the first part: pioneer, avant-garde, avant-garde, avant-garde art, as a theory, the concept of the sort. In addition, the art change briefly the avant-garde art and the China development. The second part: Meng Jinghui's drama works as a starting point to the existence and development of the avant-garde drama in the story China. For Meng Jinghui's dramatic works, either in content or theme stage form, presents a new artistic data. About this kind of exploration. This chapter mainly through the analysis of director Meng Jinghui in the representative works of different periods, through the thinking and analysis of the concept of drama and art motivation, sums up and summarizes its works This problem face. Now, the age of anxiety has been reflected in all aspects of our lives, the avant-garde drama in the exploration of the human nature of the problem, reveals the existence of the absurdity of life and sense of meaninglessness, but at the time of the nerve, broaden people view art development perspective. In addition, this section will also set up from the Meng Jinghui drama stage, performers and audience experience and other aspects of a brief comparative analysis, to explore the evolution of aesthetic style. At the same time, the author tries to judge the phenomenon of the era, to further explore the "avant-garde" art concept is associated with age. The third part symptom discussion on art and avant-garde drama in the age of the enlightenment. Now that the economic tide in the market of art enhancement, dramatic works are also required to make between commercial and non-commercial This is undoubtedly a difficult choice for drama artists. It is necessary to take into account the art, but also consider the market economy, so the development of avant-garde theatre where is it? It is undeniable that Meng Jinghui's avant-garde drama made remarkable achievements in the promotion and the box office, the drama's influence in the market to do the contribution can not be ignored, so the acceptance angle exploration also has certain necessity of his dramatic works from the aesthetic. In addition, in some of his works, thinking about the commercial play characteristics, questioned the pioneer of avant-garde works, thinking in his works exactly how much is left. The conclusion part discusses briefly avant-garde drama to our enlightenment. Each age art will reflect the characteristics of the specific conditions of the times, it reflects the current situation of the times is that the trend of the historical development, can not be out of time On behalf of the environment. In short, the existence of art is an objective law, from the beginning is by its own laws in effect. The development of commodity economy has spawned a new form of art, avant-garde drama inevitably affected by consumerism disseminated, the conclusion part of the phenomenon of reflection, is expected to of the avant-garde drama aesthetic recognition and constitute a new revelation.

【學(xué)位授予單位】：西安音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J805

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