摘要
田沁鑫作为国家话剧院为数不多的女性导演,她的作品具有较强"识别度"。身体,是田沁鑫作品的重要戏剧媒介,从其处女作开始就以强势的姿态登场。她深受西方阿尔托"残酷戏剧"与皮娜·鲍什"舞蹈剧场"的影响,并结合中国戏曲,形成了自己独特的身体美学风格。在田沁鑫的作品中,身体在权力、生死、欲望之间的对抗中挣扎,体现出现代、残酷的审美特点。身体以强势的姿态出现在舞台上,成为故事的叙述动力。
The theatre works of TIAN Qinxin,one of the few female director in the National Theatre of China,are quite easy to identify.Body,as an important theatre medium in her works,has been displayed with a powerful presence since her debut works.With the strong influence from Antonin Artaud’s"Theatre of Cruelty"and Pina Bausch’s"Dance Theatre",and borrowing from Chinese Xiqu,she formed her own unique style of body aesthetics.In her works,body struggles in the confrontation of power,life and desire,which shows the aesthetics of modernity and cruelty.It presents itself with power on the stage,and becomes the driving force of the narration.
出处
《戏剧艺术》
CSSCI
北大核心
2021年第1期60-71,共12页
Theatre Arts
关键词
田沁鑫
身体
强势
现代性
残酷性
TIAN Qinxin
body
powerful presence
modernity
cruelty
