環境戲劇的倡導者
1968年，理查·謝克納的論文“環境戲劇的六大方針”發表之後，使得“環境戲劇”一詞不脛而走，構成了六十年代前衛劇場美學的重要特徵和演出形式。
謝克納集大成為“環境戲劇的六大方針”：
1．劇場活動是演員、觀眾和其他劇場元素之間的面對面的交流。
2．所有的空間都是表演區域，同時，所有的空間也可以做為觀賞的區域。
3．劇場活動可以在現成的場地或特別設計的場地舉行。
4．劇場活動的焦點多元且多變化。
5．所有的劇場元素可以自說自話，不必為了突出演員的表演而壓抑其他劇場因素。
6．腳本可有可無。文字寫成的劇本不必是一個劇場活動的出發點或終點目標。
謝克納於1973年出版《Environmental Theater (The Applause Acting Series)》一書，此後多次修改、補充、再版。
相關評論
1、摘自粵海風網路版2003年第六期，康爾《面對帶病工作的語言》。
美國導演謝克納，在他進行環境戲劇探索的過程中，也把語言以及語言的書面形式文本推到了舞台藝術的邊緣。首先，他認為，戲劇無須表述文本圈定的意圖。 在謝克納花了20年的時間（1967-1987）修正、改定的《環境戲劇的六項原則》中，謝氏明確地指出：“文本不是演出作品的出發點也不是終點。” “對環境戲劇來說，劇本不必是首要的，也沒有原創，這些在身邊製作演出的人才是最後的決定者。”謝克納認為，那種先創作劇本繼而進行排演的戲劇生產方式，是“最持久的陳腐思想之一”。在謝克納的心目中，戲劇文本，“是帶有許多可能線路的一張地圖；也是一張可以重新繪製的地圖。你向前擠，往後退，探索，開拓。你決定你想去哪裡。工作坊和排練可能帶你去另外的地方。幾乎可以肯定地說你將不會去編劇意圖中的地方。”謝克納甚至說過：“劇本只不過是一個以此來構成一個演出的藉口而已。”戲劇的生產，“也許沒有文字劇本。” 其次，謝克納認為，戲劇無須搬演以文本記錄的故事。謝克納在1970年6月23日的筆記中寫道：“再也沒有講故事的戲劇了--戲劇也不表演故事。演員在動作/表演，各成片段。……不要去追求故事，只需要主題、形體。 姿式、聲音與舞蹈，既面對觀眾又深入我們自身。表演是絕對個人的同樣也是絕對集體的--它是一種合作。”對於謝氏領導的“紐奧良劇團”和“表演劇團”確實也排演過一些經典故事這樣一個眾所周知的事實，謝克納的解釋是：“紐奧良劇團不是‘排’尤奈斯庫的劇本；我們‘用它來排’。我們面對它，在它的台詞和主題里尋找，圍繞著它，通過它來構成。我們排出我們自己的東西。這就是環境戲劇的核心。”
2、孫惠柱，《理查·謝克納和他的戲劇人類學研究》，《外國戲劇》1987-3。（待查）
謝克納認為：戲劇的定義不再建立在傳統對生活與藝術的區分上，演出空間可在任何地方，所有演出空間維表演所用，也為觀眾所用；演出的焦點多，演員可成為多元素；劇本不必成為演出的出發點，也不必是最終目的，也許根本沒有文學本。
Richard Schechner Education Ph.D., 1962; Theatre, Tulane University M.A., 1958; English, University of Iowa B.A., 1956; English, Cornell University Biography Major Interests: comparative performance; performance theory; experimental theatre; theories and practice of directing for the stage. Affiliations: Editor, The Drama Review, The Journal of Performance Studies; General Editor, "Worlds of Performance" series; Advisory Editor, Asian Performance Journal and Journal of Ritual Studies; Artistic Director, East Coast Artists of New York; Honorary Professor, Shanghai Theatre Academy; Honorary Professor, Institute of the Arts, Havana; Emmens Professor, Ball State University, 1991-1992; Whitney Halstead Visiting Scholar, Art Institute of Chicago, 1989; Hoffman Eminent Scholar, Florida State University, 1987. Fellowships/Honors: 2002 Jay Dorff Lifetime Achievement Award of Performance Studies International; American Institute of Indian Studies Senior Research Fellow, 1997; Old Dominion Fellow, Princeton University, 1993; Special Recognition Award, New England Theatre Conference, 1991; Special Award for Contribution to Theatre, Towson State University, 1991; Asian Cultural Council Fellow, 1988-1995; National Endowment for the Humanities Senior Research Fellow, 1988; Wenner-Gren Foundation for Anthropological Research, 1987; Mondello Prize, Italy, 1985; Social Science Research Council, 1982; Fulbright Senior Research Fellow, 1976; Guggenheim Fellow, 1976. Performances DirectedYokastas (Stanescu and Schechner). East Coast Artists. 2003 Waiting for Godot (Beckett). Cornell University. 2002. Hamlet (Shakespeare). East Coast Artists. New York, 1999. Three Sisters (Chekhov). East Coast Artists. New York, 1995-1997 The Oresteia (Aeschylus). Contemporary Legend Theatre. Taipei, Taiwan, 1994. Faust/Gastronome. East Coast Artists. New York, 1993. Ma Rainey's Black Bottom (Wilson). Grahamstown Festival, South Africa, 1992. Mingri Jiuyao Chu Shan (Sun Huizhu. Tomorrow He'll be Out of the Mountains). Co-directed with Stephen Chan. Shanghai Peoples' Art Theatre, 1987. Don Juan (Moliere). Florida State University. 1987. The Prometheus Project (Schechner and others). University of Texas-Dallas and Performing Arts Garage (New York), 1983-1985. Cherry Ka Bagicha (The Cherry Orchard, Chekhov). Repertory Company of the National School of Drama. New Dehli, 1983. Richard's Lear (Shakespeare, Schechner). University of Wisconsin-Madison, 1981. The Red Snake (Michael McClure). Public Theatre. New York (closed in previews), 1981. With The Performance GroupThe Balcony (Genet), 1979-1980. Cops (Terry Curtis Fox), 1978-1979. Oedipus (Seneca), 1977. The Marilyn Project (David Gaard), 1975-1976. Mother Courage and Her Children (Brecht), 1975-1977. The Tooth of Crime (Shepard), 1972-1974. Commune (Schechner, The Performance Group), 1970-1972. Makbeth (Shakespeare, Schechner, The Performance Group), 1969-1970. Dionysus in 69 (Euripides, Schechner, The Performance Group), 1968-1969 | 理查·謝克納 教育經歷 1962年，特蘭大學，戲劇博士； 1958年，愛荷華大學，英文碩士； 1956年，科內爾大學，英文學士。 個人履歷 主要研究領域：比較表演、表演理論、實驗戲劇、舞台導演的理論與實踐。 擔任社會職務：表演學期刊《戲劇評論》，編輯； 《人類表演》叢書，主編； 《亞洲表演期刊》以及《儀式劇場研究期刊》，顧問編輯； 紐約泛亞劇團，藝術導演；上海戲劇學院，名譽教授； 哈瓦那藝術學院，名譽教授； 1991－1992年，鮑爾州立大學，教授； 1989年，芝加哥藝術學院，Whitney Halstead訪問學者； 1987年，佛羅里達州立大學，Hoffman Eminent 學者。 榮譽： 2002年，獲“國際表演學Jay Dorff終身成就獎”； 1997年，參加印第安研究美國協會高級研究； 1993年，普林斯頓大學Old Dominion Fellow； 1991年，新英格蘭戲劇大會特別榮譽獎； 1991年，獲Towson州立大學“戲劇貢獻特別獎”； 1988—1995年，亞洲文化委員會成員； 1987年，人類學高級研究國家基金； 1985年，獲義大利“蒙德羅”獎金； 1982年，社會科學研究委員會資助； 1976年，富布萊特高級研究基金； 1976年，古根海姆基金。 執導作品《Yokastas》 (Stanescu，謝克納)，泛亞劇團，2003。 《等待戈多》(貝克特)，科內爾大學，2002。 《哈姆雷特》(莎士比亞)，泛亞劇團， 紐約, 1999。 《三姊妹》 (契訶夫)，泛亞劇團，紐約, 1995-1997。 《奧瑞斯提亞三部曲》 (埃斯庫羅斯)， 現代聯想劇場， 台北，台灣，1994。 《浮士德/美食者》，泛亞劇團，紐約， 1993。 Ma Rainey's Black Bottom(Wilson). Grahamstown Festival, 南非, 1992。 《明日就要出山》 (孫惠柱小說〈明天他將要走出大山〉改編)，與 Stephen Chan合作導演，上海人民藝術劇院, 1987。 《胡安先生》(Moliere)， 佛羅里達州立大學，1987。 《普羅米修斯計畫》 (謝克納和他人合作)，德克薩斯州—達拉斯大學和表演藝術車間（紐約），1983-1985。 《Cherry Ka Bagicha》 (契訶夫〈櫻桃園〉)，國家戲劇學校倉庫劇團， New Dehli, 1983。 《李爾王》 (莎士比亞, 謝克納)，維斯康星，1981。 《紅色的蛇》 (麥可· 邁克盧爾)， 公眾戲劇，紐約 (預演後沒有再演), 1981。 |
Pioneer Drama U.S. Masters
Richard Schechner
EducationPh.D., 1962; Theatre, Tulane University
M.A., 1958; English, University of Iowa
B.A., 1956; English, Cornell University
BiographyMajor Interests: comparative performance; performance theory; experimental theatre; theories and practice of directing for the stage.
Affiliations: Editor, The Drama Review, The Journal of Performance Studies; General Editor, "Worlds of Performance" series; Advisory Editor, Asian Performance Journal and Journal of Ritual Studies; Artistic Director, East Coast Artists of New York; Honorary Professor, Shanghai Theatre Academy; Honorary Professor, Institute of the Arts, Havana; Emmens Professor, Ball State University, 1991-1992; Whitney Halstead Visiting Scholar, Art Institute of Chicago, 1989; Hoffman Eminent Scholar, Florida State University, 1987.
Fellowships/Honors: 2002 Jay Dorff Lifetime Achievement Award of Performance Studies International; American Institute of Indian Studies Senior Research Fellow, 1997; Old Dominion Fellow, Princeton University, 1993; Special Recognition Award, New England Theatre Conference, 1991; Special Award for Contribution to Theatre, Towson State University, 1991; Asian Cultural Council Fellow, 1988-1995; National Endowment for the Humanities Senior Research Fellow, 1988; Wenner-Gren Foundation for Anthropological Research, 1987; Mondello Prize, Italy, 1985; Social Science Research Council, 1982; Fulbright Senior Research Fellow, 1976; Guggenheim Fellow, 1976.
Publications by Richard SchechnerBooksPerformance Studies: An Introduction, revised and expanded second edition. London: Routledge, 2006
Over,Under, and Around.Calcutta:Seagull Books, 2004
PerformanceTheory,revisedand expanded edition. London: Routledge,2002
Interculturele Puzzels (Dutch). Utrecht: Passe Partout Publications, 2002.
Performance Studies: An Introduction. London, New York: Routledge, 2002.
Environmental Theatre (Chinese). Shanghai: Theatre Academy, 2001.
Performance: Teoria & Practicas Interculturales (Spanish). Buenos Aires: Libros del Rojas Universidad de Buenos Aires, 2000.
Przyszlosc Rytualu (Polish). Warsaw: Oficyna Wydawnicza volumen, 2000.
Magnitudini Dell Performance (Italian). Rome: Bulzoni, 1999.
Performance Studies (Japanese). Tokyo: Jimbun Shoin, 1998.
Between Theatre and Anthropology (Korean). Seoul: 1996.
Environmental Theatre (Expanded Edition). New York: Applause Books, 1994.
The Future of Ritual: Writings on Culture and Performance. New York: Routledge, 1993.
Ka Postmodernom Pozoristu (Serbo-Croatian). Belgrade : Institute for Theatre, Film, Radio, and Television, 1992.
Theater-Anthropologie (German). Hamburg: Rowohlt, 1990.
A Performance (Hungarian). Budapest: Muszak, 1989.
Performance Theory. New York: Routledge, 1988.
El Teatro Ambientalista (Spanish). Mexico City: Arbol, 1988.
The Engleburt Stories: North to the Tropics. New York: PAJ Publications, 1987.
Between Theater & Anthropology. Philadelphia: University of Pennsylvania Press, 1985.
La Teoria Della Performance (Italian). Rome: Bulzoni, 1984.
Performative Circumstances: From the Avant Garde to Ramlila. Calcutta: Seagull Books, 1983.
The End of Humanism: Writings on Performance. New York: Performing Arts Journal Publications, 1982.
Makbeth, After Shakespeare. Schulenburg: I.E. Clark, 1978.
With Brooks McNamara and Jerry Rojo. Theatre, Spaces, and Environments. New York: Drama Books Specialists, 1975.
Environmental Theater. New York: Hawthorn Books, 1973.
Public Domain: Essays on the Theater. Indianapolis: Bobbs-Merrill, 1969.
Book chapters (selected since 2000)"Fundamentals of Performance Studies," ix-xii. Teaching Performance Studies. Carbondale: Southern Illinois University Press, 2002.
"What Is 'Performance Studies' Anyway?" New Approaches to Theatre Studies and Performance Analysis. Gunter Bergaus Tubingen: Niemeyer Verlag, 2001.
"Food." Performance Artists Talking in the Eighties. Ed. Linda Montano. Berkely: University of California Press, 2000.
"Die Zukungt De Rituals (German)." Aufbruch Zu Neven Welten Theatralitat an Der Jahrtausendwende. Eds. Sussane Schwinghammer, Monika Wagner, and Michael Huttler. Frankfurt: IKO-Verlag fur Interkulturelle Kommunikation, 2000.
"Approaches to Performance Theory." The Routledge Reader in Politics and Performance. Eds. Lizbeth Goodman and Jane de Gay. London: Routledge, 2000.
"Organicity in Action, Exercises, Spaces, and Persons: Jerry Rojo's Project." Preface to Jerry Rojo's An Acting Method Using the Psychophysical Experience of Workshop Games-Exercises. Lewiston: Edwin Mellen Press, 2000.
Articles (selected since 2000):
"Performance Studies in/for the 21st Century." Anthropology and Humanism (2001).
"Rasaesthetics." TDR (2001).
"A Maharajah's Festival for Body and Soul." New York Times, 26 November 2000.
"Already Reworking the Classics of Modern Realism." New York Times, 13 February 2000.
Performances DirectedYokastas (Stanescu and Schechner). East Coast Artists. 2003
Waiting for Godot (Beckett). Cornell University. 2002.
Hamlet (Shakespeare). East Coast Artists. New York, 1999.
Three Sisters (Chekhov). East Coast Artists. New York, 1995-1997
The Oresteia (Aeschylus). Contemporary Legend Theatre. Taipei, Taiwan, 1994.
Faust/Gastronome. East Coast Artists. New York, 1993.
Ma Rainey's Black Bottom (Wilson). Grahamstown Festival, South Africa, 1992.
Mingri Jiuyao Chu Shan (Sun Huizhu. Tomorrow He'll be Out of the Mountains). Co-directed with Stephen Chan. Shanghai Peoples' Art Theatre, 1987.
Don Juan (Moliere). Florida State University. 1987.
The Prometheus Project (Schechner and others). University of Texas-Dallas and Performing Arts Garage (New York), 1983-1985.
Cherry Ka Bagicha (The Cherry Orchard, Chekhov). Repertory Company of the National School of Drama. New Dehli, 1983.
Richard's Lear (Shakespeare, Schechner). University of Wisconsin-Madison, 1981.
The Red Snake (Michael McClure). Public Theatre. New York (closed in previews), 1981.
With The Performance GroupThe Balcony (Genet), 1979-1980.
Cops (Terry Curtis Fox), 1978-1979.
Oedipus (Seneca), 1977.
The Marilyn Project (David Gaard), 1975-1976.
Mother Courage and Her Children (Brecht), 1975-1977.
The Tooth of Crime (Shepard), 1972-1974.
Commune (Schechner, The Performance Group), 1970-1972.
Makbeth (Shakespeare, Schechner, The Performance Group), 1969-1970.
Dionysus in 69 (Euripides, Schechner, The Performance Group), 1968-1969.
