磁石还是铅坠:莎士比亚在新西兰国际艺术节是如何“定义”的(英文)  

Lodestone or Leadweight: How Shakespeare“Means” at the New Zealand International Arts Festival

作　　者：詹姆斯.麦金农 

机构地区：[1]惠灵顿维多利亚大学

出　　处：《戏剧艺术》2014年第5期4-20,共17页Theatre Arts

摘　　要：莎士比亚戏剧曾经像文化罗盘一样,指引着数代"白人"殖民者,从象征意义和地理上为他们指明了方向:"北方"——英国。然而,莎士比亚又将如何指引当代新西兰人(纽西兰白人,毛利人及其他人种)在21世纪的新航行呢?莎士比亚一直是新西兰舞台上作品演出最多的剧作家,而且是唯一一个以节日命名专门上演其作品的剧作家。但是英国的文化吸引力已大不如前,如今,在某种意义上,莎士比亚的地位已发生两级分化,他的戏剧在中学课程是该减少还是该直接取消,在最近的争辩中日趋明显。新西兰人会将莎士比亚戏剧视为过去殖民地的遗产,还是将其作为"自身"文化不可或缺的一部分?他们会在海外寻找"真正的"莎士比亚,还是会找寻属于自己的新航向?在定义他们与莎士比亚的关系的同时,他们又会如何重新定义自己?Shakespeare＇s plays served many generations of Pokeha colonists as a cultural compass, orienting them to their symboIic and geographical ＂North＂： Britain. But how will Shakespeare serve contemporary Aotearoans - Pakeho, Maori, and otherwise - as they navigate the 21st century？ Shakespeare remains New Zealand＇s most performed playwright, and the only one with festivals dedicated to producing his work. But Britain＇s magnetic pull is not what it once was, and Shakespeare now polarises in a different sense, as became apparent in recent debates over whether his role in the secondary school curriculum should be diminished or eliminated. Will New Zealanders come to view Shakespeare as a relic of the colonial past, or claim him as an integral part of their ＂own＂ culture？ Will they continue to look overseas for examples of ＂authentic＂ Shakespeare, or chart their own course？ And in defining their relationship to Shakespeare, how will they redefine themselves？

关 键 词：莎士比亚 新西兰国际艺术节 毛利人 纽西兰白人 

分 类 号：F724.76[经济管理—产业经济]