概述
（１８６２—１９２８）法國(guó)一瑞士籍舞臺(tái)美術(shù)家、戲劇理論家.他的舞臺(tái)藝術(shù)思想和對(duì)舞臺(tái)燈光的功能的開(kāi)掘，為戲劇藝術(shù)的發(fā)展開(kāi)辟了新的道路.最初在德累斯頓和維也納的劇院里工作，研究立體舞臺(tái)和燈光問(wèn)題.１８２年—１８８年間，看了瓦格納的《紐倫堡名歌手》等歌劇后，備感寫(xiě)實(shí)舞臺(tái)布景的刻板性.于是開(kāi)始構(gòu)思一個(gè)音樂(lè)的舞臺(tái)設(shè)計(jì)，發(fā)展出直接表現(xiàn)戲劇的內(nèi)在本質(zhì)的視覺(jué)象征主義.可惜他很少有機(jī)會(huì)將此付諸實(shí)踐，只能作許多假想性的演出設(shè)計(jì).并將其觀點(diǎn)付諸文字.他強(qiáng)調(diào)戲劇演出的整體性，舞臺(tái)設(shè)計(jì)必須服從于表演的需要.在設(shè)計(jì)上注意舞臺(tái)空間處理的節(jié)奏性，強(qiáng)調(diào)光影的造型和情感表達(dá)能力，從而創(chuàng)造了新的舞臺(tái)氛圍，大大提高了舞臺(tái)美術(shù)的藝術(shù)作用.他的舞臺(tái)藝術(shù)思想對(duì)于戲劇發(fā)展具有革命性意義.主要著作有《瓦格納歌劇的演出》（１８９５年，巴黎版）、《音樂(lè)與舞臺(tái)藝術(shù)》（１８９９年，慕尼黑版）、《有生命力的藝術(shù)品》（１９２１年，日內(nèi)瓦版）。他曾在歐洲許多國(guó)家進(jìn)行舞臺(tái)設(shè)計(jì).為現(xiàn)代舞臺(tái)美術(shù)設(shè)計(jì)提供了美學(xué)原理，對(duì)歐美戲劇有較大的影響. (1862-1928) France 1 Swiss Stage Artists, drama theorist. His ideas and the stage arts stage lighting features opening for the development of dramatic art opened up a new path. First in Dresden and Vienna theater to work, study three-dimensional stage and lighting problems .182 years -188 years, saw Wagner’s "Meistersinger Nuremberg" and other operas, the Preparation of a sense of realism of the rigid nature of the stage scenery. Thus began the idea of a musical stage design, development a direct manifestation of visual drama inherent in the nature of symbolism. but he had few opportunities to put it into practice, can only be performed for a number of hypothetical nature of the design. and to put into words their views. He stressed that the integrity of theatrical performances, stage design must be subject to performance requirements. designed to deal with attention to the stage of the rhythm of nature, emphasizing light and shadow shape and ability to express emotion, thereby creating a new arena atmosphere, greatly enhanced the role of the art of stagecraft. His Performing Arts Thought for the development of revolutionary drama. major works include "Wagner’s operas" (1895, Paris edition), "Music and Performing Arts" (1899, Munich Version), "living art" (1921, Geneva version). He has worked in stage design in many European countries. For the modern stage art design provides aesthetic principle, the European and American theater have greater impact.
