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作 者:郭晓睿 Guo Xiaorui
机构地区:[1]南京师范大学外国语学院
出 处:《华文文学》2023年第5期67-72,共6页Literatures in Chinese
摘 要:黄哲伦对深层文化错位的探索驱使其戏剧创作发生转型,对京剧、语言和亚裔角色三种元素的书写及其演出实践体现了美国亚裔文化共同体的多元形态和民族意识。虽然原版《蝴蝶君》因对京剧的平面化处理而遭到批评,但是黄哲伦通过二次创作完成了自身文化观念的调适,回应了“对东方主义的不完全解构”这一批评意见。京剧从异质成分变更为有机组成,并作为人物性别建构的表意手段回归艺术本身。《中式英语》关注共同体构建的语言媒介,通过双语书写、表演性的翻译、字幕投影等方式解构标准英语,构建亚裔语言新形态,诉说哑裔失语窘境,传递平等对话的文化愿景。《软实力》将去中心化的剧本内容作为抵抗形式,也是捍卫亚裔演员演出权利、提高其社会地位的演出实践,是共同体意识的重要体现。此外,美国亚裔文化共同体的形塑需要去中心化,也要反诘本质主义错误的可能,避免为逆向中心推波助澜。David Henry Hwang’s exploration of deep-seated cultural dislocation has driven a transformation in his theatrical creations.His writing and performance practices involving three elements,Peking Opera,language,and Asian American characters,reflect the diverse forms and ethnic consciousness of the Asian American cultural community.While the original version of M.Butterfly receives criticism for its superficial treatment of Peking Opera,Hwang’s reinterpretation allows for the adjustment of his own cultural ideas and a response to the criticism on his“incomplete deconstruction of Orientalism”.Peking Opera transforms from a heterogeneous component into an organic part,serving as a means of gender construction within the art itself.Chinglish focuses on the linguistic medium of community construction,deconstructing standard English through bilingual writing,performative translation,and subtitle projection.This process creates a new form of Asian American language,conveying the plight of Asian Americans who have been rendered voiceless and promoting a cultural vision of equal dialogue.In Soft Power,the decentralized script content serves as a form of resistance and an important expression of community consciousness,defending the performance rights and social status of Asian American actors.Additionally,the shaping of the Asian American cultural community requires decentralization,as well as a critical examination of essentialism errors,to avoid inadvertently promoting another center.
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