新中国“文化外交”视域下越剧的国家话语表达策略——以《打金枝》为例  

The Discursive Strategies of National Discourse in Yue Opera from the Perspective of New China's Cultural Diplomacy:Taking"Beating the Golden Bough"as the Exampl

作　　者：胡红萍 Hu Hongping

机构地区：[1]上海越剧院艺术档案研究室

出　　处：《上海文化》2023年第4期89-97,共9页Shanghai Culture

摘　　要：20世纪五六十年代,作为新中国“文化外交”体系的一部分,越剧不同于当时国内文艺演出普遍以革命性话语表达为主,采用突出民族美学符号、使用现代叙事艺术以及强化剧种本体特征等国家话语表达策略,使越剧在海外得到“中国歌剧”声誉的同时,也建构了一个爱好和平、尊崇艺术的新中国形象。其中表现活跃的越剧《打金枝》充分体现了“越剧化”手段助力国家话语表达的有效性。对这一问题的探讨或为当下讲好中国故事、推动中国文化走出去提供有价值的参考。As a part of China's"Cultural Diplomacy",the cross-culture performance of Yue Opera was different from the domestic performances most of which mainly used revolutionary discourse.Instead,Yue Opera used discursive strategies such as highlighting symbols of Chinese aesthetics,using modern narrative methods and strengthening its ontological features,not only gaining the reputation of Chinese opera"overseas,but constructing a peace-loving and artistic image of new China.The play"Beating the Golden Bough"which was especially active in the diplomatic activities of New China,fully reflects the effectiveness of Yue opera means to help national discourse expression.The discussion on this issue may provide valuable reference for telling Chinese stories well and promoting Chinese culture to go globally.

关 键 词：越剧 《打金枝》 文化外交 国家话语 表达策略 剧种本体 

分 类 号：J825[艺术—戏剧戏曲]