本文選題：物體表演 + 雅典奧運會開幕式��； 參考：《戲劇藝術(shù)》2016年06期

【摘要】：在當代演出藝術(shù)的舞臺上,有一些大規(guī)模、大尺度的物體表演。這種表演的物體與歷史上的壯觀布景的差異在于:其要點不在于表現(xiàn)諸如山崩地裂或洪水泛濫的自然景觀,而是在于對人類精神世界的揭示。物的人化、人的物化顯示了當代物體表演的前景。自古以來,詩以物喻人,而當代舞臺美術(shù)對于人的物化,卻可以直接地用包裹、投影、雕鑿、塑形、機械等傀儡化或物化手段把短暫的人與永恒的物直接融為詩化的整體,并為物體注入人的靈魂,從而使演出的精神世界得到最大限度的張揚。
[Abstract]:On the stage of contemporary performing art, there are some large-scale object performances. The object of this kind of performance differs from the spectacular scenery of history in that its main point is not to express the natural landscape such as landslide or flood, but to reveal the spiritual world of human beings. The humanization of things, the materialization of human beings shows the prospect of contemporary performance of objects. Since ancient times, poetry has represented man with things, but the materialization of human beings by contemporary stage art can be directly combined into a poetic whole by means of wrapping, projecting, carving, shaping, forming, mechanical and other means of puppetry or materialization. And to inject the object into the soul, so that the spirit of the performance world to maximize publicity.
【作者單位】： 中央戲劇學院舞臺美術(shù)系;
【分類號】：J813
，

本文編號：1849651