從敘事學角度探討實時影像在大陸話劇舞臺上的跨領域性運用——以話劇《狂飆》（2017青春版）為例

The Interdisciplinary Use of Real-time image on the Stage Drama from the Perspective of Narratology: Take the drama 「Kuangbiao」(2017 Youth Version) as an example

蘇杭(Su Hang)

《2020跨界對談15－表演藝術研究學術研討會論文集》 第十五屆 (2020/10) Pp. 68-95

摘要

如今身處新媒體時代，關於話劇舞臺敘事形式的未來走向成為當代話劇藝術工作者尤為關注的問題。隨著德國邵賓那劇團《朱莉小姐》等話劇作品的引進，話劇舞臺上採用實時影像早已不是新鮮之舉，實時影像的加入使得大陸話劇作品的舞臺敘事形式有了更多的可能與挑戰。而話劇《狂飆》（2017青春版）是中國大陸話劇導演田沁鑫時隔16年後，與上海戲劇學院聯手複排自己十六年前自編自導、頗具人氣的話劇作品。編創手法極其繁複，結合電影即時拍攝、即時剪輯、即時投放的表現手法，充分靈活運用視覺、聽覺與動覺元素，呈現關於中國文化名人田漢先生一生的精彩故事。本研究以敘事學理論為突破口，結合韋勒克的「整體性研究」（Holistic Research），從縱向爬梳戲劇與影像的互動歷史脈絡，橫向剖析話劇《狂飆》（2017青春版）與話劇《狂飆》（2001版）的舞臺敘事手法的異同，試圖從敘事視點、敘事時空、接受視角三個方面釐清該作品為大陸話劇舞臺敘事形式的發展所帶來的突破與挑戰；嘗試進一步從話劇主體出發，反觀實時影像究竟在大陸話劇舞臺上扮演何種角色；努力嘗試提出大陸話劇舞臺敘事形式的新方向。

關鍵字

敘事 ； 實時影像 ； 《狂飆》 ； 話劇

並列摘要

Nowadays, in the era of new media, the future trend of the narrative form of drama stage has become a particular concern for contemporary drama art workers. With the introduction of the German Schaubühne Theatre Company's "Miss Julie"」 and other drama works, real-time image projection on the stage of the drama is no longer new. The addition of movie elements makes the stage narrative form of mainland drama works more possible and challenging. The drama "Kuangbiao" (2017 Youth Version) is a Chinese drama director Tian Qinxin 16 years before , who has collaborated with the Shanghai Academy of Drama to rehearse a popular drama that he wrote and directed sixteen years ago. The authoring techniques are extremely complicated, combining the real-time shooting, instant editing, and real-time performance of the movie, fully utilizing the visual, auditory, and kinesthetic elements to present a wonderful story about the life of Chinese cultural celebrity Mr. Tian Han. Based on the narratology theory and the Holistic Research of Wӧhleke, this study traces the interactive history of drama and image, a cross-sectional analysis of the similarities and differences in the stage narrative techniques between the drama "Kuangbiao" (2017 youth version) and the drama "Kuangbiao" (2001 version) , this paper attempts to clarify the breakthrough and challenge that the work brings to the development of the stage narrative form of Chinese drama from three aspects: Narrative point of view, narrative time and space, and reception angle, and attempts to proceed from the main body of the drama, this paper reviews the role of real-time images on the stage of Chinese drama and tries to propose a new direction of the stage narrative form of Chinese drama.

並列關鍵字

Narratology ； Real-time image ； Kuangbiao ； Theater