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词条 理查·谢克纳
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美国先锋戏剧大师理查·谢克纳(Richard Schechner)

理查·谢克纳(1934年—), 美国纽约大学戏剧系著名教授,是当今世界最有影响的戏剧导演兼理论家,被誉为是继斯坦尼斯拉夫斯基、布莱希特、梅兰芳之后,第四位20世纪享誉世界的表演学理论研究大师。他所创建的“人类表演学”, 是近年来国际上发展最快的人文新学科之一,迅速渗透了社会学、心理学、文学、历史等学科中。他也是著名的环境戏剧的倡导者。理查·谢克纳曾多次访问中国,曾在上海人民艺术剧院执导话剧《明日就要出山》,引起广泛关注。2005年3月谢克纳在上海戏剧学院建立人类表演学研究中心。他的著作包括《环境戏剧》,《仪式的未来》,《表演理论》和《在戏剧与人类学之间》。

环境戏剧的倡导者

1968年,理查·谢克纳的论文“环境戏剧的六大方针”发表之后,使得“环境戏剧”一词不胫而走,构成了六十年代前卫剧场美学的重要特征和演出形式。

谢克纳集大成为“环境戏剧的六大方针”:

1.剧场活动是演员、观众和其他剧场元素之间的面对面的交流。

2.所有的空间都是表演区域,同时,所有的空间也可以做为观赏的区域。

3.剧场活动可以在现成的场地或特别设计的场地举行。

4.剧场活动的焦点多元且多变化。

5.所有的剧场元素可以自说自话,不必为了突出演员的表演而压抑其他剧场因素。

6.脚本可有可无。文字写成的剧本不必是一个剧场活动的出发点或终点目标。

谢克纳于1973年出版《Environmental Theater (The Applause Acting Series)》一书,此后多次修改、补充、再版。

相关评论

1、摘自粤海风网络版2003年第六期,康尔《面对带病工作的语言》。

美国导演谢克纳,在他进行环境戏剧探索的过程中,也把语言以及语言的书面形式文本推到了舞台艺术的边缘。首先,他认为,戏剧无须表述文本圈定的意图。 在谢克纳花了20年的时间(1967-1987)修正、改定的《环境戏剧的六项原则》中,谢氏明确地指出:“文本不是演出作品的出发点也不是终点。” “对环境戏剧来说,剧本不必是首要的,也没有原创,这些在身边制作演出的人才是最后的决定者。”谢克纳认为,那种先创作剧本继而进行排演的戏剧生产方式,是“最持久的陈腐思想之一”。在谢克纳的心目中,戏剧文本,“是带有许多可能线路的一张地图;也是一张可以重新绘制的地图。你向前挤,往后退,探索,开拓。你决定你想去哪里。工作坊和排练可能带你去另外的地方。几乎可以肯定地说你将不会去编剧意图中的地方。”谢克纳甚至说过:“剧本只不过是一个以此来构成一个演出的借口而已。”戏剧的生产,“也许没有文字剧本。” 其次,谢克纳认为,戏剧无须搬演以文本记录的故事。谢克纳在1970年6月23日的笔记中写道:“再也没有讲故事的戏剧了--戏剧也不表演故事。演员在动作/表演,各成片段。……不要去追求故事,只需要主题、形体。 姿式、声音与舞蹈,既面对观众又深入我们自身。表演是绝对个人的同样也是绝对集体的--它是一种合作。”对于谢氏领导的“新奥尔良剧团”和“表演剧团”确实也排演过一些经典故事这样一个众所周知的事实,谢克纳的解释是:“新奥尔良剧团不是‘排’尤奈斯库的剧本;我们‘用它来排’。我们面对它,在它的台词和主题里寻找,围绕着它,通过它来构成。我们排出我们自己的东西。这就是环境戏剧的核心。”

2、孙惠柱,《理查·谢克纳和他的戏剧人类学研究》,《外国戏剧》1987-3。(待查)

谢克纳认为:戏剧的定义不再建立在传统对生活与艺术的区分上,演出空间可在任何地方,所有演出空间维表演所用,也为观众所用;演出的焦点多,演员可成为多元素;剧本不必成为演出的出发点,也不必是最终目的,也许根本没有文学本。

Richard Schechner
Education
Ph.D., 1962; Theatre, Tulane University
M.A., 1958; English, University of Iowa
B.A., 1956; English, Cornell University
Biography
Major Interests: comparative performance; performance theory; experimental theatre; theories and practice of directing for the stage.
Affiliations: Editor, The Drama Review, The Journal of Performance Studies; General Editor, "Worlds of Performance" series; Advisory Editor, Asian Performance Journal and Journal of Ritual Studies; Artistic Director, East Coast Artists of New York; Honorary Professor, Shanghai Theatre Academy; Honorary Professor, Institute of the Arts, Havana; Emmens Professor, Ball State University, 1991-1992; Whitney Halstead Visiting Scholar, Art Institute of Chicago, 1989; Hoffman Eminent Scholar, Florida State University, 1987.
Fellowships/Honors: 2002 Jay Dorff Lifetime Achievement Award of Performance Studies International; American Institute of Indian Studies Senior Research Fellow, 1997; Old Dominion Fellow, Princeton University, 1993; Special Recognition Award, New England Theatre Conference, 1991; Special Award for Contribution to Theatre, Towson State University, 1991; Asian Cultural Council Fellow, 1988-1995; National Endowment for the Humanities Senior Research Fellow, 1988; Wenner-Gren Foundation for Anthropological Research, 1987; Mondello Prize, Italy, 1985; Social Science Research Council, 1982; Fulbright Senior Research Fellow, 1976; Guggenheim Fellow, 1976.
Performances DirectedYokastas (Stanescu and Schechner). East Coast Artists. 2003
Waiting for Godot (Beckett). Cornell University. 2002.
Hamlet (Shakespeare). East Coast Artists. New York, 1999.
Three Sisters (Chekhov). East Coast Artists. New York, 1995-1997
The Oresteia (Aeschylus). Contemporary Legend Theatre. Taipei, Taiwan, 1994.
Faust/Gastronome. East Coast Artists. New York, 1993.
Ma Rainey's Black Bottom (Wilson). Grahamstown Festival, South Africa, 1992.
Mingri Jiuyao Chu Shan (Sun Huizhu. Tomorrow He'll be Out of the Mountains). Co-directed with Stephen Chan. Shanghai Peoples' Art Theatre, 1987.
Don Juan (Moliere). Florida State University. 1987.
The Prometheus Project (Schechner and others). University of Texas-Dallas and Performing Arts Garage (New York), 1983-1985.
Cherry Ka Bagicha (The Cherry Orchard, Chekhov). Repertory Company of the National School of Drama. New Dehli, 1983.
Richard's Lear (Shakespeare, Schechner). University of Wisconsin-Madison, 1981.
The Red Snake (Michael McClure). Public Theatre. New York (closed in previews), 1981.
With The Performance GroupThe Balcony (Genet), 1979-1980.
Cops (Terry Curtis Fox), 1978-1979.
Oedipus (Seneca), 1977.
The Marilyn Project (David Gaard), 1975-1976.
Mother Courage and Her Children (Brecht), 1975-1977.
The Tooth of Crime (Shepard), 1972-1974.
Commune (Schechner, The Performance Group), 1970-1972.
Makbeth (Shakespeare, Schechner, The Performance Group), 1969-1970.
Dionysus in 69 (Euripides, Schechner, The Performance Group), 1968-1969  理查·谢克纳
教育经历
1962年,特兰大学,戏剧博士;
1958年,爱荷华大学,英文硕士;
1956年,科内尔大学,英文学士。
个人履历
主要研究领域:比较表演、表演理论、实验戏剧、舞台导演的理论与实践。
担任社会职务:表演学期刊《戏剧评论》,编辑;
《人类表演》丛书,主编;
《亚洲表演期刊》以及《仪式剧场研究期刊》,顾问编辑;
纽约泛亚剧团,艺术导演;上海戏剧学院,名誉教授;
哈瓦那艺术学院,名誉教授;
1991-1992年,鲍尔州立大学,教授;
1989年,芝加哥艺术学院,Whitney Halstead访问学者;
1987年,佛罗里达州立大学,Hoffman Eminent 学者。
荣誉:
2002年,获“国际表演学Jay Dorff终身成就奖”;
1997年,参加印第安研究美国协会高级研究;
1993年,普林斯顿大学Old Dominion Fellow;
1991年,新英格兰戏剧大会特别荣誉奖;
1991年,获Towson州立大学“戏剧贡献特别奖”;
1988—1995年,亚洲文化委员会成员;
1987年,人类学高级研究国家基金;
1985年,获意大利“蒙德罗”奖金;
1982年,社会科学研究委员会资助;
1976年,富布莱特高级研究基金;
1976年,古根海姆基金。
执导作品《Yokastas》 (Stanescu,谢克纳),泛亚剧团,2003。
《等待戈多》(贝克特),科内尔大学,2002。
《哈姆雷特》(莎士比亚),泛亚剧团, 纽约, 1999。
《三姊妹》 (契诃夫),泛亚剧团,纽约, 1995-1997。
《奥瑞斯提亚三部曲》 (埃斯库罗斯), 现代联想剧场, 台北,台湾,1994。
《浮士德/美食者》,泛亚剧团,纽约, 1993。
Ma Rainey's Black Bottom(Wilson). Grahamstown Festival, 南非, 1992。
《明日就要出山》 (孙惠柱小说〈明天他将要走出大山〉改编),与 Stephen Chan合作导演,上海人民艺术剧院, 1987。
《胡安先生》(Moliere), 佛罗里达州立大学,1987。
《普罗米修斯计划》 (谢克纳和他人合作),德克萨斯州—达拉斯大学和表演艺术车间(纽约),1983-1985。
《Cherry Ka Bagicha》 (契诃夫〈樱桃园〉),国家戏剧学校仓库剧团, New Dehli, 1983。
《李尔王》 (莎士比亚, 谢克纳),维斯康星,1981。
《红色的蛇》 (迈克尔· 迈克卢尔), 公众戏剧,纽约 (预演后没有再演), 1981。 Pioneer Drama U.S. Masters

Richard Schechner

EducationPh.D., 1962; Theatre, Tulane University

M.A., 1958; English, University of Iowa

B.A., 1956; English, Cornell University

BiographyMajor Interests: comparative performance; performance theory; experimental theatre; theories and practice of directing for the stage.

Affiliations: Editor, The Drama Review, The Journal of Performance Studies; General Editor, "Worlds of Performance" series; Advisory Editor, Asian Performance Journal and Journal of Ritual Studies; Artistic Director, East Coast Artists of New York; Honorary Professor, Shanghai Theatre Academy; Honorary Professor, Institute of the Arts, Havana; Emmens Professor, Ball State University, 1991-1992; Whitney Halstead Visiting Scholar, Art Institute of Chicago, 1989; Hoffman Eminent Scholar, Florida State University, 1987.

Fellowships/Honors: 2002 Jay Dorff Lifetime Achievement Award of Performance Studies International; American Institute of Indian Studies Senior Research Fellow, 1997; Old Dominion Fellow, Princeton University, 1993; Special Recognition Award, New England Theatre Conference, 1991; Special Award for Contribution to Theatre, Towson State University, 1991; Asian Cultural Council Fellow, 1988-1995; National Endowment for the Humanities Senior Research Fellow, 1988; Wenner-Gren Foundation for Anthropological Research, 1987; Mondello Prize, Italy, 1985; Social Science Research Council, 1982; Fulbright Senior Research Fellow, 1976; Guggenheim Fellow, 1976.

Publications by Richard SchechnerBooksPerformance Studies: An Introduction, revised and expanded second edition. London: Routledge, 2006

Over,Under, and Around.Calcutta:Seagull Books, 2004

PerformanceTheory,revisedand expanded edition. London: Routledge,2002

Interculturele Puzzels (Dutch). Utrecht: Passe Partout Publications, 2002.

Performance Studies: An Introduction. London, New York: Routledge, 2002.

Environmental Theatre (Chinese). Shanghai: Theatre Academy, 2001.

Performance: Teoria & Practicas Interculturales (Spanish). Buenos Aires: Libros del Rojas Universidad de Buenos Aires, 2000.

Przyszlosc Rytualu (Polish). Warsaw: Oficyna Wydawnicza volumen, 2000.

Magnitudini Dell Performance (Italian). Rome: Bulzoni, 1999.

Performance Studies (Japanese). Tokyo: Jimbun Shoin, 1998.

Between Theatre and Anthropology (Korean). Seoul: 1996.

Environmental Theatre (Expanded Edition). New York: Applause Books, 1994.

The Future of Ritual: Writings on Culture and Performance. New York: Routledge, 1993.

Ka Postmodernom Pozoristu (Serbo-Croatian). Belgrade : Institute for Theatre, Film, Radio, and Television, 1992.

Theater-Anthropologie (German). Hamburg: Rowohlt, 1990.

A Performance (Hungarian). Budapest: Muszak, 1989.

Performance Theory. New York: Routledge, 1988.

El Teatro Ambientalista (Spanish). Mexico City: Arbol, 1988.

The Engleburt Stories: North to the Tropics. New York: PAJ Publications, 1987.

Between Theater & Anthropology. Philadelphia: University of Pennsylvania Press, 1985.

La Teoria Della Performance (Italian). Rome: Bulzoni, 1984.

Performative Circumstances: From the Avant Garde to Ramlila. Calcutta: Seagull Books, 1983.

The End of Humanism: Writings on Performance. New York: Performing Arts Journal Publications, 1982.

Makbeth, After Shakespeare. Schulenburg: I.E. Clark, 1978.

With Brooks McNamara and Jerry Rojo. Theatre, Spaces, and Environments. New York: Drama Books Specialists, 1975.

Environmental Theater. New York: Hawthorn Books, 1973.

Public Domain: Essays on the Theater. Indianapolis: Bobbs-Merrill, 1969.

Book chapters (selected since 2000)"Fundamentals of Performance Studies," ix-xii. Teaching Performance Studies. Carbondale: Southern Illinois University Press, 2002.

"What Is 'Performance Studies' Anyway?" New Approaches to Theatre Studies and Performance Analysis. Gunter Bergaus Tubingen: Niemeyer Verlag, 2001.

"Food." Performance Artists Talking in the Eighties. Ed. Linda Montano. Berkely: University of California Press, 2000.

"Die Zukungt De Rituals (German)." Aufbruch Zu Neven Welten Theatralitat an Der Jahrtausendwende. Eds. Sussane Schwinghammer, Monika Wagner, and Michael Huttler. Frankfurt: IKO-Verlag fur Interkulturelle Kommunikation, 2000.

"Approaches to Performance Theory." The Routledge Reader in Politics and Performance. Eds. Lizbeth Goodman and Jane de Gay. London: Routledge, 2000.

"Organicity in Action, Exercises, Spaces, and Persons: Jerry Rojo's Project." Preface to Jerry Rojo's An Acting Method Using the Psychophysical Experience of Workshop Games-Exercises. Lewiston: Edwin Mellen Press, 2000.

Articles (selected since 2000):

"Performance Studies in/for the 21st Century." Anthropology and Humanism (2001).

"Rasaesthetics." TDR (2001).

"A Maharajah's Festival for Body and Soul." New York Times, 26 November 2000.

"Already Reworking the Classics of Modern Realism." New York Times, 13 February 2000.

Performances DirectedYokastas (Stanescu and Schechner). East Coast Artists. 2003

Waiting for Godot (Beckett). Cornell University. 2002.

Hamlet (Shakespeare). East Coast Artists. New York, 1999.

Three Sisters (Chekhov). East Coast Artists. New York, 1995-1997

The Oresteia (Aeschylus). Contemporary Legend Theatre. Taipei, Taiwan, 1994.

Faust/Gastronome. East Coast Artists. New York, 1993.

Ma Rainey's Black Bottom (Wilson). Grahamstown Festival, South Africa, 1992.

Mingri Jiuyao Chu Shan (Sun Huizhu. Tomorrow He'll be Out of the Mountains). Co-directed with Stephen Chan. Shanghai Peoples' Art Theatre, 1987.

Don Juan (Moliere). Florida State University. 1987.

The Prometheus Project (Schechner and others). University of Texas-Dallas and Performing Arts Garage (New York), 1983-1985.

Cherry Ka Bagicha (The Cherry Orchard, Chekhov). Repertory Company of the National School of Drama. New Dehli, 1983.

Richard's Lear (Shakespeare, Schechner). University of Wisconsin-Madison, 1981.

The Red Snake (Michael McClure). Public Theatre. New York (closed in previews), 1981.

With The Performance GroupThe Balcony (Genet), 1979-1980.

Cops (Terry Curtis Fox), 1978-1979.

Oedipus (Seneca), 1977.

The Marilyn Project (David Gaard), 1975-1976.

Mother Courage and Her Children (Brecht), 1975-1977.

The Tooth of Crime (Shepard), 1972-1974.

Commune (Schechner, The Performance Group), 1970-1972.

Makbeth (Shakespeare, Schechner, The Performance Group), 1969-1970.

Dionysus in 69 (Euripides, Schechner, The Performance Group), 1968-1969.

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