间性交往:戏曲莎剧的一种理想范式  

Intersubjectivity Communication:An Ideal Paradigm of Shakespearean Plays in xiqu's Stage

作　　者：郑芳菲 Zheng Fangfei

机构地区：[1]国际关系学院英语系

出　　处：《中国比较文学》2023年第3期70-83,共14页Comparative Literature in China

基　　金：国家社科基金重大项目“中外戏剧经典的跨文化阐释与传播”(项目编号:20&ZD283)的阶段性成果。

摘　　要：跨文化戏剧理论自1970年代兴起以来,经过了一个由注重文化主体性到探究文化主体间性的过程。“戏曲莎剧”作为跨文化戏剧的一种,也经历了一个从主体性到主体间性的相似历程。本文在大致梳理跨文化戏剧理论的发展和戏曲莎剧实验的基础上,基于豫剧《天问》的个案分析,尝试性地提出较为理想的戏曲莎剧的理论范式为主体与主体间的互动,即在跨文化语境中实现互文性转换与差异的创造性共现。Since the concept of intercultural theatre emerged in the 197Os,it has gone through a process from focusing on cultural subjectivity to exploring cultural intersubjectivity.As one of intercultural theatres,shakespearean play in xiqu's stage,has also experienced a similar course as intercultural theatre's.Based on a general review of the theoretical development of western intercultural theatre and performances of shakespearean plays in xiqu's stage,this article is trying to propose an ideal paradigm of xiqu and Shakespearean plays'interaction in intercultural theatre,that is,to specify intertextuality and creatively achieve co-occurrence of cultural differences in the cross-cultural context.Questioning Heaven is very close to this paradigm.

关 键 词：戏曲莎剧 跨文化戏剧 主体间性 《天问》 

分 类 号：J825[艺术—戏剧戏曲] I561.073[文学—其他各国文学]