摘要
乌镇以西栅景区为代表的旅游产品作为地方文化消费引擎,以乌镇戏剧节为起点引入一批具有较高影响力的文化艺术活动,带动区域内其他经济文化活动发展,形成了文化旅游开发的"乌镇模式"和乌镇这一叠合了他者和自我多重文化和审美结构的"异托邦"空间。作为文化资本生产空间的乌镇叠合了现代性和"乡愁"的双重文化想象,两者具有审美情感上的内在联系,并在审美结构上呈现出剧场性表演的空间文化特色。戏剧和乌镇戏剧节在乌镇的落地过程,是他者文化自我化和地方化的过程,其中,空间中的人的具体活动至关重要。以孟京辉版《茶馆》为例,游客—观众的审美消费模式对戏剧审美评价造成了去地化影响。乌镇戏剧节和乌镇模式对城市地方性的挪用和对当地的重新在地化的尝试,因文化资本而建构,也因其受制。
Taking the tourism products of Wuzhen West Scenic Zone as examples of the local cultural consumption,Wuzhen Drama festival as the starting point to introduce a number of high-impact cultural and artistic activities,Wuzhen(a small town in Zhejiang Province,China)is driving the development of economic and cultural activities,the formation of cultural tourism development-so-called the"Wuzhen model"and the"heterotopia"space of multi-cultural and aesthetic structures.As a cultural capital production space,Wuzhen has the dual cultural imagination of modernity and"nostalgia";both of which are intrinsically linked in aesthetic emotion,and present the spatial cultural characteristics of theater performance in the aesthetic structure.The process of lauching the drama and the Wuzhen Drama Festival is a process of self expression and localization of the Others,in which detailed activity in the space is crucial.In director Meng Jinghui’s The Tea House,for example,the tourist-viewer aesthetic consumption pattern has a de-territorializing effect on the aesthetic evaluation of the play.The appropriation of urban.locality and attempts at re-localization by the Wuzhen Drama Festival and the Wuzhen model are also constrained by the construction of cultural capital.
作者
徐弋茗
Yiming XU(Zhejiang University,China)
出处
《马克思主义美学研究》
2020年第1期526-541,756-757,共18页
Research on Marxist Aesthetics
基金
国家社科基金重大项目“当代美学的基本问题及批评形态研究”(项目编号:15ZDB023)阶段性成果
关键词
乌镇戏剧节
乌镇
异托邦
空间审美结构
地方性
Wuzhen Drama Festival
Wuzhen
Heterotopia
aesthetic structure
locality
作者简介
徐弋茗,浙江大学传媒与国际文化学院博士研究生,研究方向为戏剧美学。
