跨文化戏剧表演中的视觉操演性——以香港歌舞剧《窈窕淑女》为例  

Visual Performativity in Intercultural Theatre:A Case Study of Hong Kong Musical Lovely is This Noble Lady

作　　者：万金 WAN Jin(School of Foreign Studies,Nanjing University,Nanjing 210008,China)

机构地区：[1]南京大学外国语学院,南京210008

出　　处：《北京舞蹈学院学报》2022年第3期72-77,共6页Journal of Beijing Dance Academy

摘　　要：1997年,中国香港春天剧团推出了歌舞剧《窈窕淑女》,这部改编自萧伯纳《卖花女》的跨文化戏剧表演在商业市场大获成功。文章基于新跨文化主义潮流中跨文化操演的理论特征,引申出跨文化戏剧表演中视觉操演性的概念。视觉操演性是指视觉元素从一种文化实践(戏剧文本)到另一种文化实践(舞台表演)时,文化语境的张力改变视觉符号的意指,并产生或反映正在进行的身份形成过程。文章试图探讨和回答以下问题:《窈窕淑女》舞台表演从源文本中选择了哪些视觉符号?这些视觉符号和意指在跨文化交流中遭遇了什么变化?其传播和型变与当时香港所处的全球/本土语境有什么关联?In 1997,the Hong Kong Springtime Group launched the musical Lovely is This Noble Lady,an intercultural theatrical performance adapted from George Bernard Shaw’s Pygmalion,which was a huge success in the commercial market.This paper,based on the intercultural performative theoretical characteristics of the new interculturalism,coins the term“visual performativity”for the study of intercultural theater performance.Visual performativity infers that when visual elements move from one cultural practice(dramatic text)to another(stage performance),visual symbols are recontextualized and in consequence produce and reflect the ongoing identity formation processes.The paper attempts to explore and answer the following questions:What visual signs are selected from the source text for the stage performance of Lovely is This Noble Lady?What changes do the visual signs and their signification encounter in intercultural communication?How do their dissemination and transformation relate to the global/local contexts in which Hong Kong was situated at the time?

关 键 词：视觉 操演性 跨文化戏剧 《窈窕淑女》 《卖花女》 萧伯纳 

分 类 号：J712[艺术—舞蹈]