跨文化视阈下的理查·谢克纳研究

【作者】 俞建村；

【导师】 孙惠柱；

【作者基本信息】 上海戏剧学院 ， 戏剧戏曲学， 2009， 博士

【摘要】 世界戏剧大师谢克纳与印度文化和中国文化的关系已经走过了近半个世纪的历程。本文将以谢克纳的实践探索和理论研究为基础,以跨文化为视角,重点探讨谢克纳对印度文化和中国文化的思考、探索、演绎和争议及其相应的重要成果。谢克纳早在1971年就实地考察过印度的戏剧文化。76年他又带着他导演的作品《大胆妈妈与她的孩子们》到印度六个城市和乡村巡演。1983年谢克纳再次来到印度,用印度斯坦语导演了《樱桃园》。在相应以及随后的研究中,谢克纳一直在研究印度的表演思想,并进行跨文化的比较。谢克纳对于中国的戏剧领域也不是一个陌生的名字。他到中国的北京、上海和台湾等地进行过演讲,接受过重要媒体的采访,还导演过三个作品,《明日就要出山》、《奥瑞斯提亚》和《哈姆雷特》。他既对希腊作品进行过中国移植,也曾把英国作品移向中国,与中国戏剧文化进行嫁接,同时他还对中国的原创作品《明日就要出山》进行过环境戏剧的融合,由此还在演出地的上海引发过一场前所未有的跨文化环境戏剧大讨论。就表演理论来说,他关注的大多是印度和中国的戏剧文化现象,并对其进行相应的理论探讨。本文以历史发展的前后脉络,根据谢克纳的先国内后国外的戏剧活动和戏剧理论研究的基本线索,将谢克纳的跨文化研究分为两个部分——实践部分和理论部分。实践部分将中国与印度分开论述,以时间先后划分,先印度后中国。理论部分不分开,但基本也遵循先印度后中国的方式。本文第一章为总论,重点展示了该文研究的基本思路和论文简介、文化定位、研究现状及谢克纳进行跨文化活动和研究的历史背景。第二章主要探讨了谢克纳在印度的跨文化活动,如,谢克纳首次亚洲跨文化之旅的兴奋与尴尬。这是谢克纳跨文化活动和研究的启始。1976年谢克纳与《大胆妈妈与她的孩子们》的印度巡演。这是谢克纳跨越国门的首度巡演,并产生了重要影响。1983年谢克纳到印度导演《樱桃园》。这次是使用印地语导演的,为以后的跨文化导演开了使用当地语言导演的先河,很有重要意义。而且他还注重将印度文化与英国文化进行有效的结合。不过在去印度之前,谢克纳在美国改编了《酒神的伴侣》,并将它以《69年的狄奥尼索斯》面世而一举成名。然而,这个作品最大的特点在于它与东方文化的结合,以及谢克纳在没有走出美国国门的情况下而取得的跨文化的重大收获。第三章重点探讨了谢克纳在中国上海和台湾的导演活动,如,1989年《明日就要出山》与环境戏剧的跨文化大讨论。1995年京剧版的《奥瑞斯提亚》与跨文化的融合与冲突。谢克纳在台湾导演《奥瑞斯提亚》时首次使用了京剧文化来构筑这个西方作品。2007年谢克纳再度来上海导演了《哈姆雷特》。他的跨文化视角及象征性手法曾引起轰动。谢克纳在中国传播他的人类表演学已有十多年的历程。这十多年中无不表现为跨文化特征。前期谢克纳影响中国,现在中国影响谢克纳。第四章专门探讨谢克纳的跨文化理论,诸如,印度火坛祭、查乌面具舞和婆罗多舞为行为重建,谢克纳对印度卡塔卡利表演训练与跨文化的浪漫化、理想化思考,跨文化表演的三种关系,谢克纳与巴鲁查的跨文化冲突,贵州地戏及其未来发展方向。第五章为结论部分,全面总结本文所探讨和研究的內容以及谢克纳跨文化融合思想的重要特点。纵观谢克纳半个多世纪的戏剧人生,无疑,他大多是跨文化的,它大多也是跨文化的。因为谢克纳认为,文化本身就是一个不断重建的过程,表演文化也是如此。因此,无论谢克纳走到哪里,就将哪里的文化因子撒向他的作品里,他在哪里就产生重要成果。然而大多时候,哪里就有谢克纳可能不愿看到的,诸如反对、攻击或不认可等现象发生。这就是我们的谢克纳,我们看到的跨文化的谢克纳。更多还原

【Abstract】 Richard Schechner has had relationship with Indian and Chinese Cultures for nearly half a century. This dissertation mainly focuses on Richard Schechner’s thinking, exploration, deduction and direction, and controversy or conflicts concerning or concerned with Indian and Chinese Cultures and explores them interculturally on the basis of his theories and practices mostly established or experienced in or about India and China. Richard Schechner is well known in the field of Indian Theatre. As early as 1971, he has been to India and explored Indian Theatre. In 1976, he toured his production, Mother Courage and Her Children in 6 cities of India. In 1983, Schechner went back to India and directed The Cherry Orchard in Hindustani language. In the succedent and corresponding researches, Schechner has been studying Indian performance theory, and making intercultural comparisons. Meanwhile, Schechner is also well known in the field of Chinese Theatre. He has given lectures in Beijing, Shanghai and Taiwan, and directed such works as Out of Mountains Tomorrow,Oresteia,and Hamlet, among which two are from Greece and Britain to China. Meanwhile, he has combined Out of Mountains Tomorrow with environmental theatre, which has aroused a passionate discussion in Shanghai, where Out of Mountains Tomorrow was put on stage. From the aspect of performance theory, what he concerns most is the cultural phenomena in India and China, which are deeply explored by him. This dissertation, according to the diachronic order and the clues of Schechner’s dramatic practices home and abroad, will study Schechner’s interculturalism from two aspects: practice and theory. The practice part discusses that of China and India respectively. Diachronically, India is discussed first, and then China. The discussion of theory part follows the same order. Chapter 1 is a general introduction, which tells the basic train of thought in research, the cultural allocation, the present research situation and the background of Schechner’s intercultural practice. Chapter 2 mainly discusses the intercultural activities of Schechner in India, for example, the excitement and embarrassment in Schechner’s first visit to India. This is the origin of his intercultural practice away from U.S.A.. In 1976, Schechner toured his Mother Courage and Her Children in India. This was the first time that Schechner put on performance abroad, which produced great influence. In 1983, Schechner directed The Cherry Orchard in Hindustani Language, which is of great significance for adopting local language in directing dramatic works for the first time. Meanwhile, he emphasizes the combination of Indian and English cultures. Before his visit to India, Schechner adapted The Bacchae in America with the new title of Dionysus in 69’and became famous overnight. However, the significance of this work lies in its combination with the oriental culture, and the acquisition of intercultural practice before going abroad. Chapter 3 mainly discusses the activities of Schechner as a director in Shanghai and Taiwan, for example, the discussion of Out of MountainsTomorrow and environmental theatre in 1989; the fusion and the conflicts between Oresteia and interculture; and Schechner’s adoption of Beijing opera in constructing the Oresteia. In 2007, Schechner came to Shanghai again with his Hamlet. The optical angle of interculture and symbolic techniques used to drop a bomb in Shanghai. Schechner has propagated his Performance Studies in China which also displayed its intercultural features here for more than 10 years. Previously, it was Schechner who affected Chinese Performance Studies, but now, it is Chinese Performance Studies that affects Schechner. Chapter 4 mainly discusses the intercultural theories of Schechner. For example, the restorations of Indian Altar of Fires , Chhau and Bharatanatyam;the romanticized and idealized thinking on kathakali performance; the three relationships of intercultural performance; the intercultural conflicts between Schechner and Bharucha;Dixi——the local performance of Guizhou and its further development in the future. Chapter 5 is the conclusion part, which roundly concludes the Schechner’s main intercultural theories and main intercultural practices studied in this dissertation. Looking back on Schechner’s dramatic pursuit for more than half century, it is definitely believed that in most of his life time he is intercultural, and so is most of his thought. Richard Schechner thinks that culture itself is a result of continous restoration. So is the performance culture. So, wherever he goes, he would fuse or mix his works with the local cultures and make great achievements simultaneously. But most of the time, his works would probably be opposed, attacked or unrecognized by some scholars just for the sake of his fusing or mixing. This is our Richard Schechner, our intercultural Richard Schechner.更多还原