本文選題：小劇場(chǎng)　切入點(diǎn)：觀演關(guān)系　出處：《南京航空航天大學(xué)》2010年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】： 上世紀(jì)八十年代,隨著《絕對(duì)信號(hào)》和《母親的歌》兩劇的上演,中國(guó)出現(xiàn)了小劇場(chǎng)戲劇這一特殊戲劇模式。它在空間上摒棄了傳統(tǒng)大劇場(chǎng)的慣式,追求錯(cuò)落、多變、靈活、隨意,在心理上打破了過(guò)去那種“我演你看”的兩分法觀演格局,隨之帶來(lái)了傳統(tǒng)觀演關(guān)系的顛覆和新的觀演關(guān)系的創(chuàng)造。 本文第一章首先對(duì)小劇場(chǎng)戲劇的概念起源和觀演關(guān)系的演變進(jìn)行了回顧,在明確小劇場(chǎng)與觀演關(guān)系諸概念的基礎(chǔ)上,從空間和心理兩個(gè)層面展開(kāi)有關(guān)小劇場(chǎng)戲劇中觀演關(guān)系的討論。第二章著重圍繞小劇場(chǎng)空間變化的特點(diǎn)對(duì)觀演關(guān)系給予分析,從物理屬性方面與傳統(tǒng)鏡框式舞臺(tái)進(jìn)行比較,探討可能發(fā)生的觀演關(guān)系變化。第三章以創(chuàng)作心理和接受心理為主要研究范疇,討論空間重構(gòu)后對(duì)觀演心理的作用和影響。 雖然目前小劇場(chǎng)戲劇仍未在全國(guó)范圍普及,更多以北京、上海兩地為繁榮地域,同時(shí)也并未撼動(dòng)主流戲劇的市場(chǎng)地位,但是,我們應(yīng)當(dāng)看到這一特殊戲劇模式下靈活開(kāi)放的觀演關(guān)系所可能帶來(lái)的鮮活的演出現(xiàn)場(chǎng)生命力。筆者從觀演空間的共享性、觀演空間的多樣化、創(chuàng)作心理和接受心理等幾個(gè)方面進(jìn)行了一些分析和歸納,希望能夠通過(guò)對(duì)這一課題的研究和深入,喚起人們對(duì)這一新型觀演關(guān)系的重新認(rèn)識(shí),并對(duì)當(dāng)下和未來(lái)戲劇創(chuàng)作以有限的啟發(fā)。
[Abstract]:In -20s, with the performance of "absolute signal" and "Mother's songs", a special theatrical pattern of small theater appeared in China. Casually, it breaks the dichotomy pattern of "I play you look" in the past, and brings about the subversion of the traditional relationship and the creation of the new one. In the first chapter, the author reviews the origin of the concept and the evolution of the relationship between the concept and the performance of the small theater, on the basis of defining the concepts of the relationship between the small theater and the performance. The second chapter focuses on the analysis of the characteristics of the changes in the space of the small theater, and compares the physical properties with the traditional frame stage. The third chapter focuses on the creative psychology and reception psychology as the main research category, and discusses the effect and influence of space reconstruction on the viewing psychology. Although at present, small theater plays have not been popularized throughout the country and are more prosperous in Beijing and Shanghai, and have not shaken the market position of mainstream theatre, however, We should see that the flexible and open relationship of watching and performing under this special drama mode may bring fresh live vitality of the performance. The author from the perspective of the sharing of the performance space, the diversity of the viewing space, Some aspects of creative psychology and reception psychology have been analyzed and summarized in the hope that through the research and in-depth study of this subject, people can be aroused to re-understand the new relationship between view and performance. And to the present and the future drama creation with the limited inspiration.
【學(xué)位授予單位】：南京航空航天大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：J892.4

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 劉黛;;“畫(huà)像”與“支招”——美學(xué)視野下我國(guó)小劇場(chǎng)戲劇的現(xiàn)狀和出路[J];藝術(shù)教育;2013年07期

，

本文編號(hào)：1637377