后殖民剧场研究  

Postcolonial Theatre Studies:A Keyword in Critical Theory

作　　者：李元[1] LI Yuan(Faculty of English Language and Culture,Guangdong University of Foreign Studies,Guangzhou,Guangdong Province,China)

机构地区：[1]广东外语外贸大学英语语言文化学院,广东广州510420

出　　处：《外国文学》2023年第2期95-107,共13页Foreign Literature

基　　金：国家社科基金艺术学重大项目“当代欧美戏剧理论前沿问题研究”(18ZD06)。

摘　　要：“后殖民剧场研究”是后殖民主义与当代剧场理论相结合的产物,探讨西方剧场形式与本土、民间剧场形式之间的互动。该研究自20世纪90年代兴起以来,范围不断扩大,议题日益丰富,理论话语也不断发展。本文拟梳理后殖民剧场研究发展的脉络,讨论其理论话语的建构和演变。后殖民剧场研究从某种政治意识形态出发,但也试图兼顾剧场美学,研究者借用人类学、符号学、现象学、文化文学等批评方法和视角,或尝试建构后殖民剧场理论体系,或从具体案例出发分析问题,其批评话语总是呈现融杂、交叉和综合的状态。Postcolonial Theatre Studies(PTS)draws its inspiration from both postcolonial theories and contemporary theatre theories,focusing on the interactions between Western and indigenous or folk theatrical forms.Since its inception in the 1990s,more and more geological locations and issues have been included and its theoretical discourses constantly evolved.This article aims to trace the development of PTS,and to discuss the construction and evolution of its theoretical discourses.Although PTS is inextricable from a particular set of particular political goals,it does not eschew attention to the aesthetics of theatre.Using the critical apparatuses and perspectives of Anthropology,Semiotics,Phenomenology,and Cultural Criticism,scholars of PTS have attempted to either build up systematic theoretic discourses or engage in case studies.In consequence,the critical discourses are always characterized by syncretism,intersectionality,and synthesis.

关 键 词：后殖民剧场 抵抗话语 融杂剧场 交叉 

分 类 号：G0[文化科学]