比利时舞蹈剧场的发展是后现代舞蹈发展进程中具有典型特色和历史意义的艺术现象。从1982年开始，以安娜·特蕾莎·德·姬尔斯美可（Anne Teresa De Keersmaeker）的作品《相位》和让·法布尔（Jan Fabre）的作品《这是你所期待的剧院》首演作为起点，比利时在较短的时间内成为后现代舞蹈领域的杰出标志，涌现了一批勇于创新的舞蹈创作者。他们汲取了成功经验，加以个性运用，以一种前卫的面貌不断出现在国际视野中。比利时舞蹈剧场作品大多跨越了艺术界线，融合了舞蹈、音乐、语言、戏剧等元素，并且运用了非线性叙事、破碎性等创作方法，擅长制造光怪陆离的舞台效果，用极端的肢体动作对社会规训下的肢体动作进行批判。同时，比利时舞蹈剧场的创作者又通过设立舞蹈节、建立艺术教育机构等手段，持续致力于舞蹈创作的发展延续，扩大了比利时舞蹈艺术的影响，为比利时舞蹈剧场的发展建立了一个综合性极强且可持续发展的艺术生态，开创了比利时舞蹈发展的新时代。

本文的研究内容主要分为四个章节，以后戏剧剧场理论为依据，以理论中的时间性为角度，探究比利时舞蹈剧场的创作趋势如何产生，比利时舞蹈剧场的创作观念从何而来，比利时舞蹈剧场的创作有怎样的特征，又进行了怎样的发展。第一章从宏观层面，围绕比利时的舞蹈发展历史，探清比利时舞蹈剧场创作现象的发生机制，厘清影响比利时舞蹈剧场创作的因素。第二与第三章节以弗拉芒浪潮（Flemish Wave）为切入点，通过对安娜·特蕾莎·姬尔斯美可、让·法布尔、温·凡德吉帕斯（Wim Vandekeybus）与亚兰·布拉德勒(Alain Platel)四位代表性编舞家的作品研究，探寻编舞家对后戏剧剧场时间性理解的不同侧重与共识。最后，在第四章中，通过对前文的梳理，分析时间观念变革的影响下比利时舞蹈剧场创作的可持续发展特征。通过以上分析可以得知，在比利时舞蹈剧场的创作过程中，对剧场时间性理解的改变成为了推动舞蹈改革的重要因素，以时间改变空间，改变身体，乃至拓展舞蹈的定义，使比利时舞蹈剧场呈现出一种包容而多元的崭新样貌，生发出舞蹈蕴含的巨大力量。

The development of dance theater in Belgium is an artistic phenomenon that is typical and historically significant in the development process of postmodern dance. Starting from 1982, with the premiere of Anne Teresa De Keersmaeker's work "Phases" and Jan Fabre's work "This is the Theater You've Been Waiting For" as the starting point, Belgium has become an outstanding icon in the field of postmodern dance in a relatively short period of time, and a number of innovative dance creators have emerged. A number of innovative choreographers have emerged. They have drawn on their successes and applied them in a personalized way to create an avant-garde look that is constantly on the international scene. Most of the works of Belgian Dance Theatre cross the artistic boundaries, integrating elements such as dance, music, language, drama, etc., and using non-linear narrative, fragmentation and other creative methods, specializing in the creation of strange and bizarre stage effects, and using extreme body movements to criticize the body movements under the social discipline. At the same time, the creators of the Belgian Dance Theatre also through the establishment of dance festivals, the establishment of art education institutions and other means, continue to commit to the development of the continuation of the development of dance creation, expanding the influence of the Belgian dance art, for the development of the Belgian Dance Theatre to establish a highly comprehensive and sustainable development of the art of the ecological system, the development of the Belgian dance in the beginning of a new era.

The research content of this paper is mainly divided into four chapters, the first chapter from the macro level, through the combing of Belgium's dance history, to explore the development of Belgian dance theater vein, clarify the factors affecting the creation of Belgian dance theater. The second and third chapters take Flemish Wave as an entry point, and through the study of the works of four representative choreographers, namely, Anna Theresa Kielsmaeker, Jean Fabre, Wim Vandekeybus, and Alain Platel, the study explores the different focuses and consensus of choreographers on the concept of post-dramatic theater time. focus and consensus. Finally, in Chapter 4, the sustainable development characteristics of Belgian dance theater creation under the influence of the change of the concept of time are analyzed through the combing of the previous articles. Through the above analysis, it can be learned that in the creation process of Belgian Dance Theater, the change of temporal understanding has become an important factor to promote the reform of dance, changing the space with time, changing the body, and even expanding the definition of dance, so that the Belgian Dance Theater presents an inclusive and diversified new appearance, giving birth to the great power contained in dance.