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中国实验戏剧自《绝对信号》启程,四十年来,载沉载浮,历经小剧场戏剧、独立戏剧、民众戏剧三股浪潮,在危亡中重生,在困境中挣扎,在混乱中突围,迎潮壁立,向死而生,走出一段悲欢交加的坎坷路程。“空间”和“美学”的两个转向,以及参与者和观众从“场内”到“场外”的空间转变,落脚点都在于戏剧的观众,那才是“燎原”的生命力所在。
Since its departure from “Absolute Signals,” in the past 40 years, experimental drama in China has been carrying Shen-floating and has undergone three major tidal waves of drama, independent drama and popular drama. In the midst of the crisis, China is struggling with difficulties and breaking through the turmoil. , Born to death, out of a period of joys and sorrows of the rough journey. The two transitions of Space and Aesthetics and the spatial shift of participants and viewers from the “field” to the “off-site” are based on the audience of the theater, and that is “Prairie fire” where the vitality.