当代西方跨文化戏剧实践:缘起、表征与意义  

Contemporary Western Cross-cultural Theater Practice:Origins,Representations,and Significance

作　　者：陈曦 Chen Xi

机构地区：[1]北京师范大学外国语言文学学院

出　　处：《四川戏剧》2025年第1期66-72,共7页Sichuan Drama

摘　　要：跨文化戏剧是当代西方剧场实践的重要一环,其内涵与表现形式随着时代在不断发生变化。本文以三位西方导演彼得·布鲁克、朱莉·泰摩尔、罗伯特·威尔逊的剧场实践为例,从文化主体是否在场的角度探索不同的跨文化戏剧生成方式,及其剧场表征与实践意义。创作者基于自身的目的和旨趣进行跨文化剧场实践,使西方剧场的内涵得到扩充、形式得以更新。文化主体的共同在场能够促进戏剧的现代性演变,而戏剧所引发的不同剧场效应不仅与跨文化戏剧生成方式有关,还与剧场的综合性、随机性以及观众的审美更迭有关,如何在实践中追求审美与意义的最大化是戏剧创作者和批评者共同关注的问题。Cross-cultural drama has become a significant aspect of contemporary Western theater, with its meanings and expressions continuously evolving in response to shifting cultural contexts. This paper examines the diverse approaches to cross-cultural drama through the theatrical practices of three Western directors-Peter Brook, Julie Taymor, and Robert Wilson-focusing on the role of cultural subjectivity in their work. The creators' engagement with cross-cultural theater, driven by their individual goals and interests, enriches the thematic depth and transforms the form of Western theater. The co-presence of cultural subjects within the performance fosters the modernization of drama. Furthermore, the distinct theatrical effects generated by cross-cultural drama are influenced not only by its modes of production but also by the inherent randomness of the theater and the evolving aesthetic preferences of audiences. Ultimately, the pursuit of aesthetic and thematic depth in practice remains a shared concern for both drama creators and critics.

关 键 词：西方戏剧 跨文化戏剧 彼得·布鲁克 朱莉·泰摩尔 罗伯特·威尔逊 

分 类 号：J805[艺术—戏剧戏曲]