人类学的戏剧想象:维克多·特纳表演民族志的理论探索  

The Theatrical Imagination of Anthropology:On the Theory and Practice of Victor Turner’s Performance Ethnography

作　　者：刘桂诚 LIU Gui-cheng(School of Arts,Peking University,Beijing 100871,China)

机构地区：[1]北京大学艺术学院,北京100871

出　　处：《北方民族大学学报(哲学社会科学版)》2025年第2期61-70,共10页Journal of North Minzu University(Philosophy and Social Science)

基　　金：北京大学亚太研究院博士生课题研究项目(2023—2024)“亚太研究与文明互鉴”。

摘　　要：维克多·特纳的表演民族志理论建立在剧场与仪式的隐喻性关系上,并通过社会戏剧的结构性与舞台戏剧的互动,为表演民族志提供了跨文化挪用的可能性。特纳的理论奠定了表演民族志作为后现代认识论的基础,并通过戏剧“再体验”的形式反思空间霸权,强调社会戏剧的时间性动态过程及其实践启示。这种空间与时间的辩证关系使得演员可以通过跨文化表演对他者文化产生共通性的体验,同时对自身文化产生自反性认识,理解文化表演的内在差异性。表演民族志所构建的这组辩证关系也回应了人们对其可能造成的文本与表演之间二元对立关系的质疑。特纳的表演民族志理论始终以戏剧为参照,构建了一套人类学跨文化知识的新研究范式。Victor Turner’s theory of performance ethnography builds on the metaphorical relationship between theatre and ritual,and offers the possibility of intercultural appropriation of performance ethnography through the interaction between the structural nature of social drama and stage theatre.Turner’s theory lays the foundation of performance ethnography as a postmodern epistemology and reflects on the hegemony of space through the form of theatre“re-experiencing”,emphasizing the temporal dynamic process of social drama and its practical revelations.This dialectical relationship between space and time allows actors to experience the commonality of other cultures through intercultural performances,while at the same time developing a self-reflexive awareness of their own cultures and an understanding of the inherent differences in cultural performances.This set of dialectical relationships constructed by performance ethnography also responds to questions about the dichotomous relationship between text and performance that performance ethnography can create.Therefore,Turner’s theory of performance ethnography consistently uses theatre as its reference,constructing a new set of research paradigms for anthropological intercultural knowledge.

关 键 词：维克多·特纳 表演民族志 社会戏剧 仪式 

分 类 号：J80-05[艺术—戏剧戏曲] C952[社会学—民族学]