上海视觉

上海视觉 ›› 2021, Vol. 0 ›› Issue (2): 56-61.

• 理论研究 • 上一篇    下一篇

论“间离效果”理论中演员的共鸣与反共鸣

刘启晖   

  1. 上海戏剧学院,上海 200240
  • 出版日期:2021-02-20 发布日期:2022-01-21
  • 作者简介:刘启晖(1997– ),女。上海戏剧学院,硕士研究生在读,研究方向为外国戏剧史论。

The Resonance and Anti-Resonance of Actors in the Theory of “Alienation Effect”

Qihui LIU   

  • Online:2021-02-20 Published:2022-01-21

摘要:

布莱希特在叙事体戏剧理论中提出“间离效果”,以此反对亚里士多德式戏剧中的共鸣,这似乎已是一个固有的说法。对于“间离效果”能否做到真正反共鸣的争议很多,然而这样的争议忽略了一个客观基础,即布莱希特并不是只“间离”,不“共鸣”的。在叙事体戏剧理论中,布莱希特面对“共鸣”和“间离”这对矛盾显得灵活和多面。本文抓住布莱希特本人着重讨论的“演员”这个板块,理清布莱希特关于演出排练中演员共鸣问题的完整态度。在理论提出和实践过程中,布莱希特最终是想要在间离和共鸣之间找到一个平衡点,这个平衡点因当时戏剧的现状发生倾斜,而更显示出布莱希特主张间离的那一面。

关键词: 间离效果, 共鸣, 反共鸣

Abstract:

Brecht proposed the “alienation effect” in the epic theatre theory to oppose the resonance in Aristotelian theatre. This seems to be a fixed statement. There are many controversies as to whether the “alienation effect” can truly perform anti-resonance, but such a point of contention ignores an objective basis, that is, Brecht is not only “alienated” and not “resonating”. In the epic theatre theory, Brecht seems to be flexible and multifaceted in the face of the contradiction between “resonance” and “alienation”. This article captures the “actor” section that Brecht himself focuses on, and clarifies Brecht’s complete attitude towards the issue of actor resonance in the performance rehearsal. In the process of theory and practice, Brecht finally wished to find a balance between alienation and resonance. This balance point was tilted due to the then situation of the theatre, thus it showed the side of Brecht who advocated alienation.

Key words: alienation effect, resonance, anti-resonance