【摘要】：“劇場”作為一個話題或者說藝術(shù)形式慢慢的呈現(xiàn)出了它的重要性。然而作者作為非“劇場”實(shí)踐者進(jìn)入到“劇場”中思考“劇場”概念所帶來的最終結(jié)果是：我們將思考置于何處？因此作者認(rèn)為考證“劇場”行為以及思考“劇場”行為的目的即在于：在研究中展現(xiàn)理解“概念”的多種角度以及在沖突中所呈現(xiàn)的可能性。文中“劇場”概念在西方劇場史和雅克·朗西埃之下所處的維度是截然不同的。前者提供一種了解劇場行為的基礎(chǔ)方式，而后者提供了一個以劇場行為作為預(yù)設(shè)來討論美學(xué)的政治力量的言語模式。實(shí)踐者在兩種概念之間尋找的是兩者之外的他處，，一個與其切身相關(guān)的思辯方式。就作者而言這種他處是藝術(shù)與政治之間的一個個節(jié)點(diǎn)。
[Abstract]:Theater, as a topic or art form, is slowly showing its importance. However, as a non-"theater" practitioner, the author enters the "theatre" to think about the concept of "theater" and the final result is: where do we think? Therefore, the author thinks that the purpose of studying "theater" behavior and thinking about "theater" behavior is to show the various angles of understanding "concept" and the possibility of "conflict" in the study. In this paper, the concept of theater is different from that of Jacques Longsier in the history of western theater. The former provides a basic way to understand theater behavior, while the latter provides a speech model in which theater behavior is used as a presupposition to discuss the political power of aesthetics. What practitioners are looking for between the two concepts is somewhere else, a way of thinking that is directly related to them. As far as the author is concerned, the other is a node between art and politics.
【學(xué)位授予單位】：中國美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J809

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 雅克·朗西埃;張春艷;;被解放的觀眾[J];當(dāng)代藝術(shù)與投資;2011年02期

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