东欧舞台美术的窗口
——波兰和捷克当代演出设计的演变
于海勃
美国加州大学河滨分校教授
中央戏剧学院、上海戏剧学院客座教授
内容提要丨Abstract
东欧的舞台美术始终受到全球的瞩目并持续对世界演出艺术产生重要的影响。进入20世纪后，尤其是两次世界大战的爆发，为这一地区带来巨大的社会变革的同时，也推动了文化艺术领域的探索与创新。特别是在第二次世界大战结束后，随着东西方的对峙与文化隔绝，东欧的戏剧美学在意识形态的干扰下独树一帜，舞台美术也逐渐形成特有的风格；然而20世纪90年代东欧的政治剧变又将前社会主义阵营的东欧各国带回与世界同步的轨道。在这近百年的岁月中，东欧的戏剧与舞台艺术一直没有停下它的脚步，并为人类贡献了数位世界级的戏剧家、导演与舞台设计大师。本文以东欧戏剧较为发达的国家—波兰与捷克作为窗口，通过对其演出观念与舞台美术创作的追踪，试图以粗线条勾画出这一地区舞台美术发展的大致脉络。

The stage design of Eastern Europe has always received global attention and continues to have an important influence on the world’s performing art. During the first half of the twentieth century, the two world wars not only brought the region tremendous social changes but also in the meantime, promoted exploration and innovation in culture and art. Especially after WWII, with the confrontation between East and West and cultural isolation, Eastern European theater and visual art developed their special identities under the interference of ideology. The stage design of Eastern Europe also developed a unique style. However, the sudden collapse of the Communist powers in Eastern Europe in the early 1990s brought the Eastern European countries, the former socialist camp, back on track of the world civilization again. By taking Poland and the Czech Republic, which are relatively more developed in Eastern European theater, as a window, this article attempts to draw a picture of the development in Scenography of the region.