Roland Bart's drama symbolism explanation

The constructing of drama symbolics and the construction of the body theater is still worthy of in -depth thinking that we are worthy of our combination of the development history and the characteristics of the director of the Chinese drama itself. This article will analyze the combination of Body Theater and theater symbolics through Roland Bart's theory of drama symbolic symbolic theory, and take the aesthetic characteristics presented by domestic contemporary and international cutting -edge modern dance aesthetics. Below the aesthetic expression and deep significance of the Chinese contemporary body theater.

Symbolology "Myth" and Drama Symbolology

Since the 1980s, the symbolics of drama have been widely circulated worldwide, and a number of scholars and research results have emerged in Europe and the United States. In our country, Hu Miaosheng, a professor at the Shanghai Academy of Drama, was published in the early 1980s. In 1986, the first issue of "Drama Art" published Hu Miaosheng's "Drama Symbol Introduction", which systematically introduced Western symbolists and theory of drama symbolism, including French symbolist Roland Bart.

In the first ten years of Roland Bart's writing, he was deeply influenced by Sat, Marx, and Blacht. "Zero of Writing", "Mythology" and a set of drama papers are completed under the system of these three. The Patt Drama Sanda article was seen from 1942 to 1975. There were 94 articles in the theory of theory and the book "On Laisin" (1963). These discussions are the period when they start to build a symbol "myth" based on the linguistics of Sosuer. "Mythology", "On Laisin", "Realty and Obonym -Literature and Art Criticism Collection III", these three works have collected the Bart drama theory articles more concentratedly. Among them, "Mythology" can be used as a symbol of Bart in the 1950s. The presentation of the concept of academic concept.

Bart believes that symbols are formal science, ideology is historical science. Bart created a mythical secondary symbol system based on the inheritance of Samuer's linguistic theory (that is, the symbol is the combination of the combination of it). In the first level of language levels, the content can be referred to, the concept is referred to, and they constitute the symbols in the language system; this symbol also becomes the ability (form) in the second mythology system to form a second The combination of the two in the grade mythology system is the ultimate myth.

The purpose of this view of Bart is to promote a social gesture with symbols. Bart believes that any drama works should also be simplified to what Blacht calls a social gesture, which is an external actual expression of social disputes proved by the work. This attitude, that is, this special historical model is located in the depths of any performance, which obviously requires the director to discover it and express it. For this, he can arrange all the drama skills: actors' performances, on -site arrangements, ups and downs, sets, lights, and of course costumes.

In the 1950s of Bart's drama, the use of mythology symbolics can be outlined and grasped through the following clues: First, Bart believes that "the current generation is particularly interested in the second -level communication in literary speaking activities: Today's problem is not extension, but connotation. " This is a typical view of his research on structuralist symbolism in the 1950s. Applying it in the drama is the "connotation" of "drama". The drama can refer to this symbolic mythology in the practice of drama, and will be displayed and expressed through clothing, posture, language, etc., thereby producing the dramatic effects of Bart.

The influence of Bart dramatic symbolism

In the early drama theory, Bart believed that dramatic can analyze through the function of drama. Various elements (sets, clothing, lights, words, performances, etc.) that constitute drama are spreading information like polying music, and this "certain degree of symbols" is dramatic. At the same time, Bart's semantic analysis ratio of the drama allows us to understand the method of using symbolism as a structural theorist, which is also the usual method of Bart's interpretation of myth. Bart gave a special attention to the drama with the view of "symbolism". This is because in his opinion, the drama is similar to the control theory of the machine: "When standing away, this machine is hidden behind the curtain. When someone finds it, it will be found.开始向人们的地址发送一定数量的信息。这些信息拥有着同时性但节奏不同的特点。例如在演出中，我们会接收到六七种信息（来自布景、服饰、灯光、演员的位置、他们的Actions, their imitation, their words). Some of the information remained static (this is the situation of the setting), while others are always changing (words, actions). "

The influence of Roland Bart as a symbolist in the field of French drama research was mainly found in the 1970s and 1980s. As Professor Gong Baorong proposed, since the middle of the 20th century, under the influence of French scholars Ai Jian Surio, Klord Levi Strauss, Roland Bart, A.J. Gramas, Anna Yu Besfield, Michel Corwan, George Bunu, and Patris Bavans, the famous drama professor of the third university in Paris, worked together to the late 1970s and 1980s From scratch, it has created a discipline of a systematic system and published a large number of academic monographs, which has turned the Third University of Paris into an academic town in France and even the world's drama research. With the continuous efforts of the domestic academic community, the French drama symbolic theory has formed a specialized interpretation and research effect since 2000. The masterpiece of important theoretical representatives is the Chinese translation version of the "Drama Symbolism" of the famous drama professor of the third university in Paris, France in Paris. In 2004, he was translated by Gong Baorong in 2004 and published in China Drama Publishing House. In 2008, Gong Baorong's article "Overview of Drama Symbolism" was published in "Chinese Drama", which was further used as a guide to interpret the theory of French drama symbolism. In summary, since the 1980s, the far -reaching influence of drama symbolism in the theoretical research of domestic drama is obvious. Especially since the introduction and translation of "Drama Symbolism", the academic community has deepened the translation of the theory of French drama symbolism theory. And research.

According to the perspective of French drama professor at Besfield, compared with other art exchanges, the biggest feature of theater symbolism is that it has a dual communication system, that is, the script -based language symbol exchange system and the other audiovisual symbols on the stage Communication system. Therefore, the drama symbolics can actually be subdivided into language text symbolics and performance text symbolics. Under the influence of Roland Bart, the drama symbolians are more concerned about the response of the recipients (audiences) during the performance process, so the so -called "performance reading" is generated. The understanding of the understanding of the performance of the performance. Drama symbols are committed to building a symbol system of "director discourse", that is, the paragraphs and composition methods of various visual components in the performance, and the structure of the performance text. The important part of the construction process of drama symbolics and the "director's discourse" symbol system is the significance of the "writing symbol" of the stage performance and the symbolism of them.

Drama Symbolology and Body Theater

From the obvious clothing, and then to the gesture of performance, in the end we will find that the other aspect is closely related to the posture is the "body" that occupies an important role in Bart's dramatic meaning. Bate paid attention to the relationship between the body and performance as early as the "Collection of Literature and Art Criticism", and expressed the relationship between "body is the theater", "body and scene" and "body and text space". As Bart said: "There is a way to give these perfect and mediocre bodies a way, this method is the theater." The body of the body is very important in the drama of Bart's early drama and the drama of Podlaire: Put the actor in the center of the drama miracle and make the drama a super specific place. In this place, the body is dual. It is both an exaggerated and solemn body from the usual, natural, and life -like body, but also a fixed exaggerated and solemn body fixed by the function of artificial objects.

In fact, as the "stage language" and the material carrier in the drama stage, the body is already an important target in the theory of drama aesthetics.的训练，维拉尔关于大众戏剧观采用的极简布景而突出演员形体与表演的理念，彼得·布鲁克“空的空间”对于演员的高度要求，雅克·勒考克对于身体的训练等，与Thinking about the aesthetics of the drama stage all values ​​the expression and importance of the body. As a result, the body has become a "writing symbol" on the stage, forming a unique aesthetic creation.

In recent years, one of the representatives of dance theater that has formed an important influence in China and internationally is the Tao body theater. Since its establishment in 2008, the Tao Sports Theater has swept more than 40 different art festivals in the world and has attracted widespread attention as a full -time modern dance troupe, and has become the most eye -catching and most contemporary Chinese dance troupe on the international stage. one. It can be seen through the choreography concept of the Tao Body Theater that the body is the core of the drama group formed by the formation of the troupe: "As a mother that carries the origin of life, during the process Many questions are also answering and solving these questions immediately. "It is worth noting that the Tao body theater uses the body as the" symbol "of" stage writing ", which reflects the neutral characteristics of Bart's" zero -degree writing ": male and female actors de -genderization The shape and uniform color clothing, minimalist stage background, cut -out lighting and ethereal music, setting out the expression of the actor's body, and forming "paragraphs" and "rhythm" through rhythm, thereby returning to the original and pure vitality of vitality The imagination. By exploring the boundless cosmic view of the body, through the zero -degree emotional and neutral symbolic body rhythm interpretation, return to the essence of essence and pure definition, shake the audience in the silent body language, through the changing rhythm (slow rhythm or repeated rhythm or fierce rhythm or fierce rhythm or fierce rhythm The rhythm) stimulates and enlarges the physical senses, allowing the audience to quietly stare at the "temple" in the daily life again, and thus starting to reintegrate the meaning of physical and life. In this kind of body theater with Chinese Zen philosophy, we also saw the "solemn body" of the "solemn body" of Bart's drama symbolism. (This article was funded by the 2020 post -doctoral international exchange plan)

(Author Unit: School of Literature, Renmin University of China)

Source: China Social Science Network-Journal of Social Sciences of China

Author: Lu Nan

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