Intercultural Theatre under the Lens of Cultural Appropriation

Abstract

Abstract: The concept of "intercultural theatre" has been under debate since the birth of this neologism. In theory, the content of intercultural theatre has varied several times, with expanding forms of intercultural theatre practices. The interweaving of theories and practices in recent decades has caused confusion and misinterpretation in academic discourses. Re-categorizing intercultural theatre practices with the term "cultural appropriation" into text appropriation, form appropriation, motif appropriation, and subject appropriation is effective to clarify meanings and forms of intercultural theatre, as well as the object of ethical, political, and aesthetic discussions, so that indiscriminate use of concepts can be avoided during evaluating various types of intercultural theatre.

Key words: intercultural theatre, cultural appropriation, discourse, representation

Feng Wei . Intercultural Theatre under the Lens of Cultural Appropriation[J]. Theoretical Studies in Literature and Art, 2016, 36(5): 201-209.

References

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(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.

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