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“话剧”作为既定的戏剧学术语,能够被作为固定指称沿袭使用,意味着它在一个深刻的知识性约定层面上,区别于偶然性的、普通的命名与接受过程。因此,作为戏剧学术语的“话剧”的诞生,既是一个文化事件,也是一项理论实践,它同时具有历史和文字的双重意义维度。在这个约定俗成的戏剧学术语中,不仅反射出一种知识生产所持有的意识形态色彩,而且还镶嵌着中国和西方戏剧(文化)观念之间的互动的图式。借助侨易观念提供的观察角度,我们可以看到“话剧”这一术语的生成过程中,发生了多重的侨易现象,而侨易主题是一种身体化的戏剧观念。洪深的身体/知识侨易暗示了他“西方主义——民族主义——戏剧”的二元三维式的精神结构,并赋予“话剧”这一术语一种不可愈合的裂隙和无法调和的紧张。“话剧”的命名策略中已经为中国戏剧的未来预留下了民主化与现代化的难题。
As an established theatrical term, “drama” can be used as a fixed allegory, meaning it is distinguished from occasional, ordinary naming and accepting processes at a profound intellectual convention. Therefore, the birth of “Drama ” as the academic term of drama is not only a cultural event but also a theoretical practice. It also has the double meaning of history and writing. In this conventional theatrical jargon, not only does it reflect the ideological hold of a production of knowledge, but it also embodies a pattern of interaction between Chinese and Western theatrical (cultural) ideas. With the perspectives provided by the concept of overseas Chinese, we can see that there are multiple phenomena of overseas Chinese in the generation of the term “drama.” The theme of overseas Chinese is a kind of physical drama concept. The deep body / the knowledge of overseas Chinese can easily imply the dual three-dimensional spiritual structure of his “Westernism-nationalism-drama” and give the term “drama” a non-healing fissure and Tension can not be reconciled. The naming strategy of “drama” has already set the problem of democratization and modernization for the future of Chinese drama.