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題名 | 從建築結構思考戲劇表演空間:貝杜齊《哈姆雷特》之舞臺設計分析=From Architecture to Theatrical Space: Analysis of Richard Peduzzi's Stage Design of "Hamlet" |
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作者 | 楊莉莉; Yang, Lilly; |
期刊 | 戲劇學刊 |
出版日期 | 20090700 |
卷期 | 10 2009.07[民98.07] |
頁次 | 頁173-198 |
分類號 | 981.3 |
語文 | chi |
關鍵詞 | 理查.貝杜齊; 哈姆雷特; 巴特里斯.薛侯; 舞臺設計; 傑哈.德札爾特; Richard Peduzzi; Hamlet; Patrice Chéreau; Stage design; Gérard Desarthe; |
中文摘要 | 理查‧貝杜齊一九八八年為巴特里斯‧薛侯執導的《哈姆雷特》設計舞臺。此戲於「亞維儂劇展」首演,貝杜齊利用中世紀壁壘森嚴的「教皇宮」當成演出的背景丹麥王宮。整體演出僅憑一塊大地板,其上的圖案源自文藝復興時期的建築門面,左右對稱,狀如翻開的書頁,於演出過程中不停地變動。終場《哈姆雷特》猶如從中世紀過渡到文藝復興時期,歷史翻開了新頁。舞臺整體設計結構嚴密,自有其運作的邏輯與節奏,形成「眼睛的書寫」,讓觀眾的「眼睛能聽得到臺詞,耳朵看得到演出」。舞臺空間積極、主動建構演出,經過薛侯深刻的演繹,舞臺精彩的表演足以與莎劇分庭抗禮,而非消極、被動配合劇本演出。藉由構思、規劃、組織舞臺空間,貝杜齊提供觀眾一個思考人世的新模式,別具一格。 |
英文摘要 | Richard Peduzzi has designed the stage for Hamlet directed by Patrice Chéreau in 1988. Premiered at the Festival of Avignon, Hamlet used the middle-aged Palace of the Popes as the background of the play-the palace of Denmark. The stage design employs a mobile wooden floor, on which a reversed contour of a typical Renaissance architecture façade is traced. The symmetrical façade looks like an open book which will keep changing till the end; Hamlet has evolved from the Middle Ages to Renaissance, a new page of history being turned. The rigorous structure of this stage design has its own logic and rhythm of functioning. As a result, a "writing of the eyes" emerges from the representation, a "space that permits to hear the lines through eyes and see the production through ears." Peduzzi's design actually constructs the production rather than passively adapting itself to it. The highly theatrical mise en scene of Chéreau competes on equal terms with the text of Shakespeare. Through the architectural meditation and composition of theatrical space, Peduzzi proposes an innovative model to think of the world. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。