浪漫主义的挽歌——《西哈诺》在当代中国的剧场实践  

A Elegy of Romanticism——The Practice of Cyrano de Bergerac in Contemporary Chinese Theater

作　　者：杜怡 Du Yi

机构地区：[1]中国人民大学文学院

出　　处：《戏剧与影视评论》2024年第2期11-20,共10页Stage and Screen Reviews

基　　金：国家社科基金艺术学重大项目“戏剧与影视评论话语体系及创新发展研究”,项目编号:23ZD07。

摘　　要：《西哈诺》是法国戏剧家埃德蒙·罗斯丹于19世纪末所创作的浪漫主义戏剧。20世纪20年代末该剧传入中国,30年代数次登上戏剧舞台,获得了国内戏剧爱好者的好评。在当代剧场中,戏剧导演丁一滕在保留原作《西哈诺》的内核基础上,进行了跨文化的改编、移植、创排与表演,使罗斯丹剧作中的“浪漫主义”精神在中国剧场中得以复苏与更新。丁一滕版《西哈诺》将不同文化传统的戏剧元素进行整合、挪用,彰显出导演一以贯之的“新程式”美学理念,同时也彰显出新锐导演在当代中国剧场实践领域的先锋性与创新性。Cyrano de Bergerac is a romantic drama created by the French playwright Edmond Rostand at the end of the 19th century.This classic work was introduced to China at the end of the 1920s and was staged several times in the 193os,receiving acclaim from domestic drama enthusiasts.In contemporary theater,the director Ding Yiteng,while preserving the essence of the original Cyrano de Bergerac,has conducted cross-cultural adaptations,transplantations.re-arrangements,and performances,reviving and renewing the spirit of romanticism within Rostand's play in the Chinese theater.Ding Yiteng's version of Cyrano de Bergerac integrates and appropriates theatrical elements from different cultural traditions,highlighting the directors consistent aesthetic concept of"new formula,"and also demonstrating the pionecring and innovative nature of contemporary Chinese theater in exploring the field of dramaticexpression.

关 键 词：浪漫主义 丁一滕 “表演性”欲望 “新程式”美学 

分 类 号：J805[艺术—戏剧戏曲]