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美国建筑师洛奇说:“剧场在演出时应不是别的,仅仅是个剧场而已,而在空场时则什么也不是。”洛奇的这句话实际上与现象学的观点很相近。现象学认为任何物体都没有自在的存在,只有当它成为一个意识的感知对象时它才真正存在,一本书只有被人阅读时才是存在。同样道理,剧场也只有人在进行活动,在展开事件,在举行演出的时间过程中才有意义,否则什么也不是。强调剧场的阅读也就是强调戏剧的“演出文本”,即演出文本的阅读。把剧场作为文本来阅读,来理解,实际上已进入“解释学”(或称“释义学”)的领域。被称为解释学之父的狄尔泰把
American architect Lodge said: “The theater should be nothing more than a show, just a theater, and nothing in the air.” Rocky’s remark is actually very similar to that of phenomenology. According to phenomenology, any object does not exist freely. It exists only when it becomes a conscious object of consciousness. A book exists only when it is read. By the same token, the theater is also only people in the activities, in the incident, the time in the process of performing meaningful, otherwise nothing. Emphasis on the theater of reading is to emphasize drama “performance text”, that is, the performance of text reading. To read the theater as text, to understand, in fact, has entered the field of “hermeneutics” (or “interpretation”). Dilthey, known as the father of hermeneutics, put it