廿世紀前半邁向藝術自治的劇場實驗

Experimental Theatre towards Autonomy of Art in the First Half of the Twentieth Century

周靜家(Jing-Chou Christine)

《鵝湖學誌》 32期 (2004/06) Pp. 173-224

https://doi.org/10.29653/LS.200406.0004

摘要

廿世紀的西方劇場經過自然主義之後急遽變化。前衛主義藉著剷除舞臺燈的實驗，泯除舞台與觀眾之間的審美界限，實為半調子大開方便之門，或是以藝術為手段達成社會改革之目的，在在破壞了歷經數百年才得以達到的藝術自治成就。本文條理出廿世紀前半延續市民藝術和美學觀的專業劇場傳統；著重於建立自身法則，確保觀眾想像力的參與為劇場本質，不但隔離外力，且訴請嚴格規律的努力乃是為對抗半調子的入侵。

關鍵字

藝術與自然的關係 ； 藝術自治 ； 風格 ； 市民劇場傳統 ； 嚴格規律 ； 對抗半調子

並列摘要

Since the effect of Naturalism the Western Theatre in the 20th Century has experienced radical changes. Footlights symbolize the aesthetic boundary between stage and audience in the Bourgeois Theatre Tradition. The avant-gardists, with their experiments of eliminating the footlights, actually offered opportunities for dilettantes' easy invasion into the domain of an. Or, by means of an the avant-gardists intended to reach the aim of reforming the society. On the whole it destroyed the autonomy of art, which achieved after hundreds of years efforts. This essay subjects on professional theatre in the first half of the 20th Century, which presented the continuity of Bourgeois Tradition of aesthetic as well as artistic vision. It mainly structurizes from inherent order. The participation of audience with imagination in this way can be true essence of theatre, thus, not only the influences from outside can be kept out, but also the efforts for a structure of rigorous regulative intend to reject dilettantes.

並列關鍵字

relationship of art and nature ； autonomy of art ； style ； Bourgeois tradition of theatre ； rigorous regulative ； against dilettantism

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