【作者】 杨子；

【导师】 颜海平；

【作者基本信息】 华东师范大学 ， 文学与传媒， 2011， 博士

【摘要】 全球消费时代,意象经济霸权下以利益最大化为根本诉求的资本逻辑在社会组织结构中的统治与管辖,资本媒体化及其对社会生活的弥漫渗透,要求人们必须面对和回应生命本体的存在和意义的问题,“景观”所导致的城市空间及人的认知的范式性的巨大冉变,成为本研究探索“人的主体性”或“人的能动力”的社会学理背景和驱动所在。本研究选取上海三个不同形态、不同性质的剧场空间作为个案,将多元各异的剧场并置,意在形成一个多视角的文化视野,将“剧场”作为社会“文本”,通过对剧场空间的文化生产和表达样式进行分析,进而引发对当代戏剧(现场表演及行为)的生产、消费、影响机制的思考,探寻剧场中人的表演行为与社会空间之间的互动与影响,从中发掘在各种权力关系和利益驱动所制约的视觉意象众围下,人何以发挥人之所以为人的主体能动性。本文从结构上分为五章：第一章,主要对论文选题的文献梳理和选题意义的论证,提出大众消费时代“景观异乡客”这一概念,进而论证从剧场出发对人的主体能动性进行发掘和探索的可能。第二章,从都市移民角度,以上海苏北民间淮剧戏班及其所驻剧场为例,探讨剧场空间的生产与构成,将剧场重新概念化为空间的实践,观演者以“家园创造”(home-making)为核心,通过剧场实践建构主体能动性。第三章,以反商业运营的下河迷仓为例,探讨作为有记忆、有乡愁的社会个体,如何以身体进行个性化的空间表达和重塑,在这个剧场中,表演者从各自的生命体验和立场出发,表达的一个共同主题,即为现代化进程中人的生存与家园寻根。表演不仅是用艺术手段来表达创作人的思想意识,同时也是艺术家在面对生存现实时所采取的主动行为。新型的观演关系的建立,使得剧场成为具有民主性与开放性的公共空间的可能。第四章,以上海唯一的国家级剧院上海话剧艺术中心为例,探讨“后国家”剧场的剧场美学：商业性及全球性。通过对剧场的全球空间迁徙的几个案例进行分析,探讨剧场中所表征的全球境遇中人的身份认同,以及多元文化格局中上海/中国主体身份的建构。第五章对以上各章节的分析进行理论总结,指出多元各异的剧场空间借助对家园的建构与表达,剧场形成富含精神内质的差异空间。依此得出,在新的社会历史条件下,剧场的功能不是去再现真实,而是揭露现实的幻象,是对社会主体能动性的建构,在此基础上,戏剧让人回归本真。本文对以上三例剧场空间里充满差异而又共同聚焦“现场表演”暨“身体实践”的探索,意在开启以“身体实践”中的能动性为核心的审美研究,从而在全球化时代社会生活受制于意象工业的历史条件下,为我们重访人的能动性打开一种反思的维度,提供一个实践的参照。对“现场表演”暨“身体实践”的探索和追求,实际上是对“戏剧在新的历史条件下的本体意义及社会功能”的追问和回答。更多还原

【Abstract】 We should confront and respond the question about the life ontology and existing significance when our social life is saturated with the mass mediatized culture in the age of consumption. The huge transformation of the urban space and the human cognitive paradigm caused by the spectacles is the social and theoretical background of the research on the subjective agency in this dissertation.Taking three theatres in different type and institution as cases, the dissertation juxtaposes them as the social texts to analyze the cultural production and representation in the theatrical space, to explore the interaction between the live performance and the social space, and how the human being exert the subjective agency under the circumstance of the society of spectacles.The structure of the dissertation can be divided into five chapters.The first chapter is the introduction, which focuses on the literature review and the significance of the research. The concept" the stranger in the society of the spectacles" is put forward in this chapter, and the feasibility of the research on the human being’s agency in the theatres is demonstrated.In the second chapter, the Subei Huaiju Opera Troupe and its theatre in Shanghai are taken for the instances to explore the production of the theatrical space. The theatre is re-conceptualized as the production of space, in which the spectators and performers build their subjective agency through home-making practice.In the third chapter, the dissertation focuses the social individuals’ performance in Mecooon Space which is operated in an anti-commercial mode, in which a new relationship between the performers and the spectators is built to make the theatre as the potential public space.The fourth chapter analyzes the theatrical aesthetics of Shanghai Dramatic Arts Center (SDAC), the post-national theatre’s commerciality and globalization. The human identity and the subjective construction of Shanghai/China are explored in three cross-national performance cases.The last chapter is the theoretical summary of the above analysis, pointing out that the theatre has formed the heterotopias in the globalized city by constructing and representing the home image in them. It draws a conclusion that the theatre is not to represent the reality but to reveal the illusion of the reality. The dissertation’s exploration of the "live performance" or in other words, the "body practice" in the three different theatres, is to initialize the aesthetic research on the human agency in these artistic spaces, which could answer the question "what is the ontology and the social function of the theatre under the new social and historical circumstances".更多还原