《蝴蝶君》的戏剧艺术与主题研究  

On the Dramatic Techniques and Themes of M.Butterfly

作　　者：刘秋月[1] 余丽[1] LIU Qiu-yue;YU Li(School of Foreign Studies,Shaanxi University of Technology,Hanzhong Shaanxi 723001,China)

机构地区：[1]陕西理工大学外国语学院,陕西汉中723001

出　　处：《齐齐哈尔大学学报(哲学社会科学版)》2025年第2期108-111,共4页Journal of Qiqihar University(Philosophy & Social Science Edition)

基　　金：陕西省哲学社会科学研究专项2024年度“陕西跨文化交际与区域国别”合作研究项目:区域国别研究中的跨文化外语教学研究路径(2024HZ0548)。

摘　　要：华裔美国剧作家黄哲伦的戏剧《蝴蝶君》颠覆了东方的刻板形象、尖锐地批判了西方沙文主义却仍然在西方广受喜爱,这与该剧切合主题的戏剧技法的运用密不可分。《蝴蝶君》以电影式叙事结构凸显了主体的叙事意图,批判了西方殖民主义意识形态;以“元戏剧”的剧场性结构打破了戏剧的虚构性,促使观众对戏剧所反映的中西文化误识问题进行反思;东西方文化元素并存的混杂舞台空间舞台飨观众以多重审美体验,呈现文化冲突主题的同时也展现了文化融合的愿景。The play M.Butterfly by Chinese American playwright David Henry Hwang is popular in the West though it subverts the stereotypical image of the Oriental and sharply criticizes Western chauvinism,which is probably due to its dramatic techniques that interwoven with the themes.By employment of cinematic narrative structure,M.Butterfly forcefully highlights the narrative intention of the subject and criticizes the Western colonial ideology.The theatrical structure of metadrama breaks the fictionality and prompts the audience to reflect on the misunderstanding between Chinese and Western cultures.The coexistence of Eastern and Western cultural elements on the stage echoes the theme of cultural conflicts while also showcases a vision of cultural integration,providing the audience with multiple aesthetic experiences.

关 键 词：《蝴蝶君》 叙事结构 元戏剧 舞台空间 

分 类 号：I712.073[文学—其他各国文学]