被抛在视觉戏剧的海洋上:木偶戏作为一门独立学科的生存挑战

Leino Rei
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引用次数: 0

摘要

目的是了解目前的情况,并概述波罗的海和北欧国家的木偶剧和木偶剧训练传统,以及木偶演员的形象最近是否发生了变化,以及如何发生变化。为了了解这一领域的趋势和不同国家的共同点,我采访了来自芬兰、瑞典、挪威、拉脱维亚、立陶宛和爱沙尼亚的戏剧制作人。本研究的题目是“被抛在视觉戏剧的海洋上:木偶戏作为一门独立学科的生存挑战”。为了更广泛地了解木偶戏,我还做了两个额外的采访。其中一个是与马立克·瓦兹基尔合作的“木偶戏在新视觉戏剧范式中的挑战”,另一个是与俄罗斯导演亚娜·图米娜合作的“21世纪的木偶戏师”。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Tossed on the seas of Visual Theatre: challenges to Puppetry’s survival as an independent discipline
The goal was to understand the current situation and give an overview of Baltic and Nordic countries' puppet theater and puppet theater training traditions and whether and how the puppeteer's profile has changed recently. To get an idea of the trends in this area, the common ground of the different countries, I interviewed theatre makers from  Finland, Sweden, Norway, Latvia, Lithuania, and Estonia. The title of this research is "Tossed on the seas of visual theatre: challenges to puppetry’s survival as an independent discipline."To have a wider look at the puppetry, I also did two additional interviews. One of them with Marek Waszkiel - "Puppetry's challenges in the new visual theatre paradigm" and another one with Russian director Yana Tumina - "The puppeteer in the 21st century".
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