ABSTRACT In the light of the current century being described by various cultural theorists as dominated by a “games” or “ludic” paradigm, the first part of this two part study aims to identify a “malaise” in conventional realist approaches to staging fictional dramatic texts in the UK, and the consequent appearance of a new mode of performance influenced by a “ludic” social paradigm. This new mode operates within a “game-model” framework, draws on European (particularly German) models and aspects of the “post-dramatic”, is visually and imaginatively minimalist, sometimes fundamentally (and sometimes cosmetically) audience-transactional; gives the appearance of being performance–emergent and semi-improvised and at its best is based on a reinvigorating of the relationship between text and performance and between performers and audience. It also potentially involves a recalibration of the importance of a variety of different kinds of Stanislavsky’s “given circumstances” and, by implication, a resetting of the function of the director. The main aim of this part of the study is to construct a theoretical and descriptive “template” of the new form and of its associated directorial approach, in relation to which a range of individual examples of practice might then be examined and contextualized in part 2.

中文翻译：

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玩游戏/玩游戏：对英国“主流”基于文本的剧院中新兴表演美学和导演方法的推测和观察

摘要 鉴于本世纪被各种文化理论家描述为由“游戏”或“嬉戏”范式主导，这两个部分研究的第一部分旨在确定传统现实主义方法中的“弊病”，以呈现虚构的戏剧性。英国的文本，以及随之而来的受“嬉戏”社会范式影响的新表演模式的出现。这种新模式在“游戏模式”框架内运作，借鉴了欧洲（特别是德国）模式和“后戏剧”的各个方面，在视觉和想象力上极简主义，有时从根本上（有时在外观上）是观众交易的；给人一种表演的外观——即兴的和半即兴的，最好的情况是基于文本和表演之间以及表演者和观众之间的关系的重振。它还可能涉及重新调整斯坦尼斯拉夫斯基的各种不同类型的“特定情况”的重要性，并暗示重新调整导演的职能。这部分研究的主要目的是构建新形式及其相关导演方法的理论和描述性“模板”，然后可以在第 2 部分中检查和背景化一系列相关的实践案例.