“坎普”的两幅面孔:从《霸王别姬》和彩虹合唱团现象看“坎普”的中国表达  

Two Faces of “Camp”: The Expression of Chinese Camp in Farewell My Concubine and Caihong (Rainbow) Choir Phenomenon

作　　者：柯英 KE Ying(School of Foreign Languages and Literature,Suzhou University of Science and Technology,Suzhou,Jiangsu 215009,China)

机构地区：[1]苏州科技大学外国语学院

出　　处：《中州大学学报》2019年第5期17-24,共8页Journal of Zhongzhou University

基　　金：国家社会科学基金项目“景观社会的思想者:苏珊·桑塔格视觉艺术文论研究”(12CWW002);江苏省青蓝工程和苏州科技大学科研启动资金资助

摘　　要：电影《霸王别姬》的题材、表演和呈现方式等不乏“坎普”趣味,尤其是贯穿全片的“非本来”特质,赋予了该片独特的魅力,也在众多的解读和评说中打开了一扇新的窗口,丰富了它的内涵。彩虹合唱团的作品则展示了“坎普”作为一种城市感受力的影响,通过对现代城市生活的自嘲式白描,轻松自如地在轻浮与严肃之间达成了一种平衡。《霸王别姬》里的“非本来”性和彩虹合唱团现象所反映出的都市症候仅仅是“坎普”众多面孔中的两幅,而“坎普”感受力还有更多的面孔等待我们去认识和描画。“Camp”sensibility can be found in the theme,performance and representation of Farewell My Concubine.The“off”nature of“camp”is especially important in that,it endows the film with a unique charm and opens a new window for us to look at its subtle implications.The works of Caihong(Rainbow)Choir,on the other hand,unfold“camp”as an urban sensibility,balancing the frivolous and the serious in a relaxed manner with self-mocking descriptions of the modern urban life.The“off”nature in Farewell My Concubine and the Caihong(Rainbow)phenomenon are no more than two of the many faces of“camp”,and more aspects of“camp”await our further exploration.

关 键 词：“坎普” 《霸王别姬》 彩虹合唱团 

分 类 号：I106[文学—世界文学]