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引用次数: 0
摘要
菲利普-奎斯(Philippe Quesne)在他的 Vivarium Studio 公司和楠泰尔-勒阿芒迪埃(Nanterre-Les Amandiers)公司研究艺术与生命世界之间的关系。他将树枝、石头、动物和大气现象与人类相提并论。他的作品伴随着一场概念革命,同时也提出了质疑。对他来说,生命世界,无论是植物还是动物,都不仅仅是一个物体。他的戏剧赋予其主体地位。我们将通过分析卡斯帕尔-西-弗里德里希(Caspar Western Friedrich)的表演和他的 "鼹鼠三部曲"(《沼泽俱乐部》、《撞击公园》和《褐陶之夜》),了解这种对生物等级的舞台修正是如何以文艺复兴时期至今的景观理论为基础的。
AUTONOMY OF LANDSCAPE IN THE WORK OF PHILIPPE QUESNE
In his company Vivarium Studio and then at Nanterre-Les Amandiers, Philippe Quesne examines the relationship between art and the living world. He places onstage the branches of trees, stones, animals and atmospheric phenomena on a par with human beings. His work accompanies and questions a conceptual revolution. The living world, both plant and animal, is not for him a mere object. His theatre gives it the status of a subject. We will see how this onstage revision in the hierarchy of living creatures is based on the theory of landscape from the Renaissance to the present day, in particular by analysing his show Caspar Western Friedrich and his “mole trilogy” (Swamp Club, Crash Park and La nuit des taupes).