| Bharucha,Rustom.The Politics of Cultural Practice:Thinking through Theatre in an Age of Globalization.Hanover:Wesleyan University Press,2000. ---."A Reply to Richard Schechner."Asian Theatre Journal 1.2(1984):254-60. ---.Theatre and the World:Performance and the Politics of Culture.London and New York:Routledge,1993. Brown,John Russell."Theatrical Pillage in Asia:Redirecting the Intercultural Traffic."New Theatre Quarterly14.53(1998):9-19. Conceison,Claire.Significant Other:Staging the American in China.Honolulu,T.H.:University of Hawaii Press,2004. Fischer-Lichte,Erika."Interweaving Performance CulturesRethinking‘Intercultural Theatre':Toward an Experience and Theory of Performance Beyond Postcolonialism."The Politics of Interweaving Performance Cultures:Beyond Postcolonialism.Eds.Erika Fischer-Lichte,Torsten Jost and Saskya Iris Jain.London and New York:Routledge,2014.1-21. ---.The Show and the Gaze of Theatre:A European Perspective.Trans.Jo Riley.Iowa City:University of Iowa Press,1997. ——."Staging the Foreign as Cultural Transformation."The Dramatic Touch of Difference:Theatre,Own and Foreign.Eds.Erika Fischer-Lichte,Michael Gissenwehrer and Josephine Riley.Tubingen:G.Narr,1990.277-87. Huang,Alexander C.Y.."'What Country,Friends,Is This?':Touring Shakespeares,Agency,and Efficacy in Theatre Historiography."Theatre Survey 54.1(2013).51-85. Kennedy,Dennis."Afterword:Shakespearean Orientalism."Foreign Shakespeare:Contemporary Performance.Ed.Dennis Kennedy.Cambridge:Cambridge University Press,1993.290-303. Knowles,Ric.Reading the Material Theatre.Cambridge:Cambridge University Press,2004. ——.Theatre and Interculturalism.Basingstoke and New York:Palgrave Macmillan,2010. Lo,Jacqueline,and Helen Gilbert."Toward a Topography of Cross-Cultural Theatre Praxis."The Drama Review 46.3(2002):31-53. Pavis,Patrice,Theatre at the Crossroads of Culture.Trans.Loren Kruger.London and New York:Routledge,1992. Robins,Kevin."Tradition and Translation:National Culture in Its Global Context."Enterprise and Heritage:Crosscurrents of National Culture.Eds.John Comer and Sylvia Harvey.London and New York:Routledge,1991.21-43. Schechner,Richard.The End of Humanism:Writings on Performance.New York:PAJ Publications,1982. ——."Interculturalism and the Culture of Choice:Richard Schechner Interviewed by Patrice Pavis."The Intercultural Performance Reader.Ed.Patrice Pavis.London and New York:Routledge,1996.41-50. ——.Performance Studies:An Introduction.Abingdon,Oxon and New York:Routledge,2013. 孙惠柱:《谁的蝴蝶夫人——戏剧冲突与文明冲突》。北京:商务印书馆,2006年。[Sun,William Huizhu.Whose Madam Butterfly:Conflicts on Stage and Clash of Civilizations.Beijing:The Commercial Press,2006.] Young,James O..Cultural Appropriation and the Arts.Oxford:Black well,2008. (1)其中最精彩的论述,see Erika Fischer-Lichte,"Interweaving Performance Cultures-Rethinking'Intercultural Theatre':Toward an Experience and Theory of Performance Beyond Postcolonialism."The Politics of Interweaving Performance Cultures;Beyond Postcolonialism.Eds.Erika Fischer-Lichte,Torsten Jost,and Saskya Iris Jain.(London and New York:Routledge,2014)1-4. (2)See Erika Fischer-Lichte,Michael Gissenwehrer,and Josephine Riley,eds.The Dramatic Touch of Difference;Theatre,Own and Foreign.(Tutibingen;G.Narr,1990);Bonnie Marranca and Gautam Dasgupta,eds.Interculturalism and Performance;Writings from PAJ.(New York;PAJ Publications,1991);Patrice Pavis,ed.The Intercultural Performance Reader.(London and New York;Routledge,1996);Jacqueline Lo and Helen Gilbert,"Toward a Topography of Cross-Cultural Theatre Praxis."The Drama Review 46.3(2002);Patrice Pavis,Theatre at the Crossroads of Culture.Trans.Loren Kruger.(London and New York:Routledge,1992);Daphne Pi-Wei Lei,"Interruption,Intervention,Interculturalism;Robert Wilson's HIT Productions in Taiwan."Theatre Journal 63.4(2011). (3)See Richard Schechner,Performance Studies;An Introduction.(Abingdon,Oxon and New York:Routledge,2013)263. (4)See Patrice Pavis,"Intercultural Performance Today(2010)."Forum Modernes Theater 25.1(2010). (5)See Fischer-Lichte,"Interweaving Performance CulturesRethinking'Intercultural Theatre':Toward an Experience and Theory of Performance Beyond Postcolonialism."但费舍尔-李希特的探讨历时久远,实际上贯穿了第二阶段和第三阶段。 (6)See Rustom Bharucha,"A Reply to Richard Schechner."Asian Theatre Journal 1.2(1984):255. (7)此表格基于帕维斯的沙漏模型,旨在分析跨文化戏剧生产的过程。虽然沙漏模型的缺陷甚多,但其所列的主要步骤却十分有用。此表格选取沙漏模型中几个未被充分阐释的过程,加以扩充,以求将其复杂化。关于沙漏模型,see Pavis,Theatre at the Crossroads of Culture.4-6.关于对沙漏模型的批判,see Lo and Gilbert,"Toward a Topography of Cross-Cultural Theatre Praxis."41-43. (8)此处有必要区分“改编”和“翻译”。通常翻译指原封不动地排演被翻译过来的剧本,保留原剧文化背景、人名等,其宗旨在于传播和引介经典。而改编可分两种:一种是保留原文化背景,但却在其他方面对剧本提出新的阐释;另一种则是将原剧本地化,以此来反映本地的问题,或迎合本地观众,因为文化背景之别,原剧意义多少会有所转变。本文所谈文本挪用,主要是改编,而非翻译。 (9)近年来,中国经济腾飞,本土的国际戏剧节(如上海国际戏剧节、乌镇戏剧节和天津曹禺戏剧节)也吸引了不少外国剧团,对以西方为中心的戏剧节有一些冲击,但能否带去根本的改变,还需拭目以待。 (4)关于对此剧全方位的批判,see Rustom Bharueha,Theatre and the World:Performance and the Politics of Culture.(London and New York:Routledge,1993)69-90. (11)皇家莎剧团《赵氏孤儿》问世之后,评论界曾有人将其比作《摩诃婆罗多》。See"A World Elsewhere;The Orphan of Zhao at the RSC Review Part 1."Worldpress.23 Jan.2013.23 Aug.2014.以本文标准来看,这种做法夸大其词且不合时宜。 (12)沈林对此有精彩描述,参见沈林:“刺目的盲点:再议‘跨文化戏剧”',《戏剧艺术》5(2012):22-29。 (13)See Min Tian,"'Alienation-Effect'for Whom?:Brecht's(Mis)interpretation of the Classical Chinese Theatre."Asian Theatre Journal 14.2(1997). (14)See Evan Winet,"Great Reckonings in a Simulated City:Artaud's Misunderstanding of Balinese Theatre."Crosscurrents in the Drama;East and West.Ed.Stanley Vincent Longman.Tuscaloosa;University Alabama Press,1998. (15)其中孙惠柱的《谁的蝴蝶夫人——戏剧冲突与文明冲突》为典范之作。 (16)See Daphne Pi-Wei Lei,"Orphan a La Crouching Tiger.". (17)商业类者以熊式一的《王宝川》为代表。此剧20世纪上半叶在英国甚至欧洲大陆和北美风靡一时。当初熊式一在伦敦西区天天看戏,观察观众喜爱何种类型的戏剧、程式和桥段,并将此挪用到了自己的作品《王宝川》中。王宝川原名王宝钏,是传统戏《红鬃烈马》的主人公。熊式一将该故事压缩,硬是改造成了情节剧。除了戏剧形式方面,其意识形态也有意迎合西方观众。比如在原故事中,代战公主与王宝钏同为薛平贵之妻,但为了迎合西方人一夫一妻的观念,便将前者与一位大使牵了线。熊式一出于商业考虑,如此操作无可厚非。而政治类的多见于难民叙事,如夸大自己在母国的受难情况。See Maurya Wickstrom,Performance in the Blockades of Neoliberalism:Thinking the Political Anew.(Basingstoke and New York:Palgrave Macmillan,2012)2. |
