【作者】 张晓；

【导师】 傅松雪；

【作者基本信息】 山东大学 ， 艺术学理论（艺术美学）， 2024， 硕士

【摘要】 沉浸式戏剧,作为二十一世纪环境戏剧的新型形态,以其挑战剧院建筑和固定舞台的权威、突破镜框舞台的限制、多感官参与、增强互动、以观众为中心等特性,在全球范围迅速走红。近年来,沉浸式戏剧在中国落地,其本土性转化成为中国当前戏剧话语建构的一种尝试。本文共分为六个部分,绪论部分重点阐述了选题目的与研究意义。在对文献及研究现状的梳理中,了解沉浸式戏剧作为新兴的戏剧形式在中国落地生根的本土化进程。第一章主要论述中国沉浸式戏剧相关概念,分析沉浸式戏剧的缘起与发展,考察沉浸式戏剧在中国扎根的可能性并界定其范畴,以期对沉浸式戏剧在中国落地的样态风貌做初步呈现。第二章具体梳理了中国沉浸式戏剧的本土化演变历程。分别从溯源发展、移植转型、风格化共生等三个方面展开论述,在此基础上总结了沉浸式戏剧本土化的未来创新趋势。第三章论述了沉浸式戏剧在本土化过程中具体的艺术表现,探究沉浸式戏剧诸多要素之间的相互作用、彼此生成以及形态呈现。第四章具体解析了沉浸式戏剧本土化的审美特征,致力于辨析沉浸式戏剧在本土化进程中与中国文化基因、美学特质等的情感链接,总结其与传统艺术形式、传统文化精神、审美观念等碰撞融合后所产生的独特审美特质。第五章则聚焦于沉浸式戏剧的价值呈现,剖析沉浸式戏剧如何用中国的内容、形式为观众提供从认知到情感再到认知的螺旋式上升的审美体验,从而更好地契合中国观众的审美,带给观众更具沉浸性的戏剧体验,打造出震撼人心的文化审美场域,引发对沉浸式戏剧未来在中国发展的新思考。更多还原

【Abstract】 Immersive theatre,as a new form of environmental theatre in the twenty-first century,has rapidly gained popularity globally for its features such as challenging the authority of theatre buildings and fixed stages,breaking through the limitations of the mirror-framed stage,multi-sensory participation,enhanced forms of interactivity,and audience-centeredness.In recent years,immersive theatre has landed in China,and its local transformation has become an attempt to construct China’s current theatre discourse.This paper is divided into six parts.The introductory part focuses on the purpose of the selected topic and the significance of the research.The introductory part focuses on the purpose of the topic and the significance of the research.In the combing of the literature and the current status of the research,we understand the localization process of immersive theatre as an emerging form of theatre that has landed and taken root in China.The first chapter discusses the concept of immersive theatre in China,analyzes the origin and development of immersive theatre,examines the possibility of immersive theatre taking root in China,and defines the scope of immersive theatre,in order to make a preliminary presentation of immersive theatre’s style and appearance in China.The second chapter specifically comprehends the localized evolution of immersive theatre in China.It discusses the three aspects of traceability development,transplantation transformation,and stylized symbiosis respectively,on the basis of which it summarizes the future innovative trends of immersive theatre localization.Chapter 3 discusses the specific artistic performance of immersive theatre in the process of localization,and explores the interactions between many elements of immersive theatre,the generation of each other and the presentation of forms.Chapter 4 analyzes the aesthetic characteristics of the localization of immersive theatre,devotes itself to identifying the emotional links between immersive theatre and Chinese cultural genes and aesthetic qualities in the process of localization,and summarizes the unique aesthetic qualities resulting from the collision and fusion of immersive theatre and traditional art forms,traditional cultural spirit and aesthetic concepts.Chapter 5 focuses on the value presentation of immersive theatre,analyzing how immersive theatre can use Chinese content and form to provide audiences with an aesthetic experience that spirals from cognition to emotion and back to cognition,so as to make immersive theatre better fit the aesthetics of the Chinese audience,bring the audience a more immersive theatre experience,and create a shocking cultural aesthetic field,thus triggering new thoughts on the future development of immersive theatre in China.It will lead to new thinking about the future development of immersive theatre in China.更多还原