表演与表演性研究  

Performance and Performativity

作　　者：何成洲 HE Chengzhou(School of Arts,Nanjing University,Nanjing 210008;School of Foreign Studies&Institute of Global Humanities,Nanjing University,Nanjing 210023)

机构地区：[1]南京大学艺术学院,南京210008 [2]南京大学外国语学院与全球人文研究院,南京210023

出　　处：《文化艺术研究》2025年第2期71-76,114,共7页Studies in Culture and Art

摘　　要：自20世纪90年代美国学者朱迪斯·巴特勒将表演性概念引入性别研究,该理论就在不同学科的碰撞中不断得到丰富。而新物质主义的兴起,尤其是凯伦·巴拉德的“后人类表演性”概念的提出,再一次将这个理论推到了学术研究的前沿。在表演研究领域,得益于跨学科的互动与渗透,表演性理论也有着自己的发展脉络,从不同角度对于表演的现场性、身体性、生成性和能动性的高度关注为表演性理论建构提供了重要的思想资源,也推动了诸如数字表演、机器表演、实验戏曲等表演实践的创新。Since the 1990s,when Judith Butler introduced performativity into gender studies,the theory has been continuously enriched through interdisciplinary encounters.The rise of new materialism—particularly Karen Barad's posthuman performativity—has once again brought performativity to the forefront.In the field of performance studies,thanks to interdisciplinary interaction and integration,performativity has developed its own trajectory.Its focus on liveness,corporeality,emergence,and agency from various perspectives has provided critical intellectual resources for the construction of performativity.It has also spurred innovation in performance practices such as digital performance,robot performance,and experimental Chinese opera.

关 键 词：表演 剧场 表演艺术 表演性 先锋昆曲 

分 类 号：J802[艺术—戏剧戏曲]