梅兰芳与斯坦尼斯拉夫斯基:国际舞台上一个跨文化戏剧神话的建(解)构  

MEI Lanfang and Stanislavsky:The(De) construction of an Intercultural Myth on the International Stage

作　　者：田民(著)[1] 庞肖狄(译) TIAN Min;PANG Xiaodi

机构地区：[1]美国爱荷华大学 [2]武汉大学哲学学院

出　　处：《戏剧艺术》2021年第5期1-17,共17页Theatre Arts

摘　　要：梅兰芳1935年赴苏联巡演期间与斯坦尼斯拉夫斯基会面,此后斯氏关于中国戏曲表演的"评价"对中国学界关于中国戏曲艺术的理解和评价等相关议题方面产生了深刻而持久的影响。通过对相关档案材料及同时代实录资料的广泛研究,探究构成二十世纪国际舞台上这一历史性跨文化时刻的相关历史事实和情境,并对这一非同寻常的跨文化历史现象的建构进行解构,揭示其政治和意识形态基础,阐明其戏剧和艺术的定位与置换问题。为促进当今学界对中国戏曲艺术的历史理解,以及在更大范围内,对二十世纪以来全球跨文化戏剧的历史理解,有必要对这个跨文化戏剧神话的产生和建构进行解构。The contact between MEI Lanfang and Stanislavsky during MEI’s 1935 tour in the Soviet Union and Stanislavsky’s often-cited ’appraisal’ of the acting of traditional Chinese Xiqu have exerted a profound and lasting influence on the Chinese understanding and evaluation of the art of their traditional theatre.Through extensive research into the related archival material and the contemporary records,this article investigates the historical facts and circumstances that underlay this intercultural moment of historic importance on the international stage of the twentieth-century.It unweaves the historical construction of this remarkable intercultural phenomenon and exposes its political and ideological underpinnings as well as its theatrical and artistic placement and displacement.In addition,it underscores the necessity of deconstructing the creation of such an intercultural myth for today’s historical understanding of the art of traditional Chinese Xiqu and,by implication,in a larger context,of the global making of twentieth-century intercultural theatre.

关 键 词：梅兰芳 斯坦斯尼拉夫斯基 中国戏曲 跨文化戏剧 置换 解构 

分 类 号：J80[艺术—戏剧戏曲]