“后戏剧”与中国文化语境  

“Postdramatic Theatre”and the Chinese Cultural Context

作　　者：丁罗男[1] DING Luonan

机构地区：[1]上海戏剧学院戏剧文学系

出　　处：《戏剧艺术》2020年第4期1-17,共17页Theatre Arts

基　　金：国家社科基金重大项目“中国话剧接受史”(18ZDA260)子项目“中国话剧演出接受史研究”的阶段性成果。

摘　　要：雷曼提出的"postdramatisches theater"概念在中文中译作"后戏剧剧场"不太妥切,这里以"后戏剧"指称。作为一种当代欧美戏剧发展新倾向的描述与研究,"后戏剧"的积极意义是指出了近半个世纪来戏剧发展的两个重要转向:一是以文学为中心转向以剧场为中心;二是从演出者的叙述与阐释转向观众的接受与解释。其文本的特征可以用意义的不确定性与形式的杂合性来概括。但在后现代解构主义思想影响下,"后戏剧"的反理性、反摹仿也可能导致"意义的消解"。它在中国学界引起不同的反响与评价,除了自身的理论缺陷外,还由于国内的推介存在某些误解。对这一理论不宜作简单的肯定或否定。正确理解与研究"后戏剧"的价值,及其在中国文化语境下的实际效应才是正确的学术态度。As far as the concept of"postdramatic theatre"articulated by Lehmann is concerned,the Chinese translation,in the first place,is not appropriate.As a description and study of the new trend of contemporary European and American theatre,the significance of the concept is that it points out two important changes in the development of theatre in the past half-century.One is the change from a literature-centered practice to a theater-centered practice.The other is the change from the performer’s narrative and interpretation to the audience’s acceptance and understanding.The characteristics of the text can be summarized as the uncertainty of meaning and the hybridity of forms.However,under the influence of post-modern deconstructionism,the anti-rationality and anti-imitation of"postdramatic theatre"may also lead to"the elimination of meaning".It has aroused different echoes and evaluations in Chinese academic circles because of its own theoretical defects and the misinterpretations in its recommendation and introduction in China.It is not suggested to simply affirm or negate this theory.The correct academic attitude is to correctly understand and study the value of the concept and its effect in the context of Chinese culture.

关 键 词：后戏剧 后现代 解构主义 中国文化语境 

分 类 号：J80[艺术—戏剧戏曲]