Abstract This article seeks to identify some key scenographic principles that govern contemporary British playwright Howard Barker’s stage spaces. The influence of Barker’s dramatic work is widely recognized and has been the subject of sustained academic study for a number of decades. Despite Barker’s scenographic engagement with his own playwriting since the late 1990 s, the corresponding academic engagement with this aspect of his work remains scant. This article therefore offers the first sustained consideration of Barker’s spatial scenography, engaging in a detailed analysis of select examples of Barker’s drama from the late 1990 s to mid-2000s. It also draws upon archival materials of productions by The Wrestling School company to compare the implicit scenography as evident in the play text to its realization in production. The analysis approaches Barker’s spatial scenography through the lens of aesthetic discourse, with particular focus on the notion of the postmodern sublime as postulated by Lyotard and Johnson, among others, in order to discuss the subject matter in a suitably non-reductive, yet critical manner.

中文翻译：

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“这是什么地方...？” – Howard Barker 的空间场景

摘要 本文旨在确定支配当代英国剧作家霍华德巴克舞台空间的一些关键场景设计原则。巴克戏剧作品的影响力得到广泛认可，几十年来一直是学术研究的主题。尽管巴克自 1990 年代后期以来就开始参与他自己的剧本创作，但与他的作品这方面的相应学术参与仍然很少。因此，本文首先对巴克的空间场景进行了持续考虑，详细分析了 1990 年代末至 2000 年代中期巴克戏剧的精选例子。它还借鉴了摔跤学校公司制作的档案材料，将戏剧文本中明显的隐含场景与其在制作中的实现进行了比较。