“间离效果”是由德国戏剧家布莱希特首先提出的戏剧术语, 随着影视艺术的诞生和发展, 戏剧艺术手段被借鉴和移植, “间离效果”的理论原则和艺术手法被引入到电影电视的创作中, 产生了区别于传统叙事手段的崭新效果, 也出现了许多反响良好的影视作品案例。例如在影视作品中演员直视镜头与观众进行直接对话的表现手法、对“第四堵墙”的打破, 不但丰富了镜头叙事的形式, 产生了强烈的陌生化效果, 同时也会引导观众进行深入的观影思考。

电视剧《伦敦生活》创新性地使用了陌生化的艺术手法, 主人公频繁地从叙事中抽离, 同时直视镜头与观众进行直接的交流。这种演员直视镜头并运用第二人称与观众对话的表演方式贯穿着《伦敦生活》两季的始终, 也成为了该剧最具特色的标签之一。

《伦敦生活》这部电视剧最初是根据同名舞台剧改编而来的, 编剧兼主演菲比·沃勒-布里奇于2013年爱丁堡边缘艺术节进行了舞台剧版本的首次演出并一炮而红, 随后BBC将其改编为同名剧集, 于2016年上映, 再次掀起热潮。2019年, 独角戏回归外百老汇和伦敦西区, 并被制作成高清戏剧影像全球发行, 一票难求。

该剧播出后, 在国内外均获得了较大的反响和良好的口碑。对于电视剧的发展而言, 《伦敦生活》通过对“间离效果”的创新运用, 对“第四堵墙”的打破, 从而操纵观众注意力、为观众带来新颖观剧体验的创作策略, 是具有参考价值和借鉴意义的。

本文将从创作维度和接受维度两个层面分析“间离效果”在电视剧《伦敦生活》中的运用及呈现效果, 以期通过对该剧得失的分析, 探索电视剧创作应如何走出窠臼, 在同类型和题材的电视剧层出不迭的当下, 规避观众对同类型剧集所固有的叙事模式和人物设置的审美疲劳, 吸引观众的观赏兴趣, 为未来影视剧创作的发展路径提供新思路。

Distancing effect is a dramatic term first proposed by the German dramatist Brecht. With the birth and development of film and television art, dramatic artistic means have been borrowed and transplanted, and the theoretical principles and artistic techniques of distancing effect have been introduced into the creation of film and television, which has produced a new effect different from the traditional narrative means, and there have been many film and television works with good response. For example, in film and television works, the expression method of actors directly talking to the audience by looking directly at the camera and breaking the "fourth wall" not only enrich the narrative form of the camera and produce a strong defamiliarization effect, but also lead the audience to think deeply about the movie.

The TV series Fleabag innovatively uses the artistic technique of defamiliarization, in which the protagonist frequently separates from the narrative and directly communicates with the audience by looking directly into the camera. This approach, in which the actors look directly into the camera and speak to the audience in the second person, has been used throughout the show's two seasons and has become one of its most distinctive labels.

The show was originally based on a play of the same name. Writer and star Phoebe Waller-Bridge first performed the play at the Edinburgh Fringe Festival in 2013 and it became a hit again when the BBC adapted it into a series of the same name, which was released in 2016. In 2019, the one-man show returned to Off-Broadway and London's West End, and has been produced into high-definition theatrical images for global distribution. Tickets are hard to come by.

After the broadcast of the drama, both at home and abroad have gained a greater response and good reputation. For the development of TV series, Fleabag breaks the fourth wall through the innovative use of distancing effect, thus manipulating the audience's attention and bringing the audience a novel experience of drama creation strategy, which is of reference value and significance.

This paper will analyze the application and presentation effect of  distancing effect in the TV series Fleabag from two aspects of creation dimension and reception dimension, hoping to explore how to get out of the rut by analyzing the gains and losses of the drama. In the current situation where TV series of the same type and theme emerge one after another, Avoid audience's aesthetic fatigue of the inherent narrative mode and character setting of the same type of drama, attract audience's interest in watching, and provide new ideas for the development path of film and television drama creation in the future.