摘要
20世纪西方剧场变革从剧本中心到表演中心\剧场中心的发展历程,必然走向跨文化戏剧,因为剧场中心论是将戏剧当作精神交流仪式的。精神交流仪式本身就是文化符号,这种文化符号的可交流性是如何发生的?如果文化赋予戏剧符号以意义,那么一个民族文化孕育的戏剧符号如何在全球化时代超越民族文化语言的局限,为地球村的全人类共享呢?事实上,全球化时代对所有艺术形式都提出了跨文化的问题。但有些艺术形式,如音乐\绘画,节奏与旋律\色彩与图形等,本身就是跨文化的,不同民族国家的人都可以感受领悟得到。文学这类语言艺术则必须通过翻译环节,才能实现跨文化的理想。那么戏剧呢?如果现代戏剧已经超越了剧本中心的逻各斯中心主义,那就已经具备了跨文化的可能。比如说,表演中心的戏剧语言是身体,而身体语言是跨文化的。最后,跨文化戏剧是戏剧回应全球化挑战的必然选择,全球化时代戏剧家最重要的使命就是探索跨文化的"戏剧语言"。彼得.88布鲁克、格洛托夫斯基和巴尔巴,以及整个戏剧人类学的发展都在探索这方面的问题。
The development of contemporary theatre from a locos-centrism inherent in the play-text centrism to performance/theatre centrism is destined to lead onto the phase of intercultural theatre because theatre centrism regards theatre as ritual for spiritual interchange, which is in itself a cultural symbol. The paper asks such questions as how such cultural symbols communicate and how theatre symbols arising from indigenous cultures ride over ethnic linguistic barriers in the age of Globalization, but at the same time also contends that art forms such as music and pointing are in themselves intercultural, as rhythms, melodies, colors and pictorial forms are in themselves capable of being perceived by peoples of different nation states. The paper argues that literature depends on translation for cross cultural communication, whereas theatre so long as it has already made obsolete the logos-centrism of the play-text, is prepared for cross cultural communication, as is exemplified in the language of the body advocated by Brook, Grotowski, and Barba.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2008年第3期88-101,共14页
Drama:The Journal of the Central Academy of Drama
基金
2008年国家社会科学基金支持项目(项目批准号:08BZW075)
关键词
戏剧探索
跨文化主义
戏剧人类学
Theatre Experimentation, Intereulturalism, Theatre Anthropology
