德勒兹“游牧”理论下《只有红楼梦·戏剧幻城》的空间美学探究
A Study on the Space Aesthetics of “Only a Dream of Red Mansions？City of Drama Fantasy” under Deleuze’s “Nomadic” Theory

近年来，随沉浸式戏剧、实景演出等艺术活动兴起，艺术市场日益繁荣。王潮歌在继《只有河南》后，将戏剧幻城的打造重点放在文学资源跨媒介转化上，开启《只有红楼梦·戏剧幻城》的大门，以12场戏剧和108个情景空间打破中心化、层级分明的空间设置，给观者以“陌生化”的沉浸体验。《只有红楼梦》内的场景设置和互动设计贴合德勒兹的“游牧”理论，幻城中的观者作为“游牧”主体可以摆脱符号限制，冲破时空界限，进入一个开放的、多元互通的光滑空间，探索新叙事。
In recent years, the art market has flourished with the rise of immersive theater, live-action performances, and other artistic activities. Following the success of “Only Henan,” Wang Chaoge focused on the cross-media transformation of literary resources in the creation of theater illusion cities, opening the door to “Only Dream of Red Mansions？City of Drama Fantasy.” This project features 12 dramas and 108 scenario spaces, breaking down centralized and hierarchical spatial setups to provide viewers with an “alienating” immersive experience. The scene settings and interactive designs within “Only Dream of Red Mansions” align with Deleuze’s “nomadic” theory, where viewers in the illusion city, as “nomadic” subjects, can escape symbolic constraints, break through temporal and spatial boundaries, and enter an open, interconnected, and smooth space to explore new narratives.