【摘要】 声音是剧场艺术的重要维度。在戏剧剧场时期，声音一般起到阐释性作用，是演出的布景。在后戏剧剧场时期，当文本不复是剧场的唯一中心时，“声音”被有意识地建构为积极的表演性成分。然而，长久以来，由于亚里士多德的理论建构以及广泛的文化症结，与声音相关的问题始终没有得到应有的重视。晚近以来，姆拉登·奥瓦迪亚提出“声音戏剧构作”,旨在挖掘被忽视的声音。声音戏剧构作继承了20世纪早期先锋派的遗产，凸显了声音的物质性及其抽象形式，既是创作的新路径，也是理论的新突破，或许能为我们解读剧场作品、梳理剧场史提供新视野和新语汇。更多还原

【Abstract】 Sound is an important dimension of theatre art. On the stage of dramatic theatre, sound generally plays an interpretive role and serves as the setting for the performance. On the stage of post-dramatic theatre when the text is no longer the only center, “sound” is consciously constructed as a positive performative component. However, for a long time, due to Aristotle’s theoretical construction and extensive cultural issues, those related to sound have not received their deserved attention. In recent times, Mladen Ovadija has proposed the concept of “dramaturgy of sound”, aiming to address the neglected issue of sound. Dramaturgy of sound inherits the heritage of the avant-garde movement in the early 20th century, highlighting the materiality of sound and its abstract form. It is not only a new path of creation, but also a new breakthrough in theory. Perhaps it can provide us with a new perspective and vocabulary for interpreting theatre works and reviewing the history of theatre.更多还原