“东方主义”的文化冲突与互释——《蝴蝶君》对《蝴蝶夫人》、《西贡小姐》的文化倒置与反拨  

The Cultural Confrontation and Mutual Interpretation of "Orientalism"-The Cultural Inversion from M. Butterfly to Madama Butterfly and Miss Saigon

作　　者：吾文泉[1] 

机构地区：[1]南通师范学院外文系,江苏南通226007

出　　处：《南通师范学院学报（哲学社会科学版）》2004年第2期97-99,共3页Journal of Nantong Teachers College(Social Science Edition)

摘　　要：著名歌剧《蝴蝶夫人》是西方戏剧史上的世纪绝唱 ,代表了西方的“东方主义”思想。这种思想被固化在20世纪80年代后期著名音乐剧《西贡小姐》中。然而 ,美籍华人黄哲伦以舞台剧《蝴蝶君》对前二者进行东西方文化倒置和反拨 ,以迥异的解读手法和舞台表现形态对抗百年来西方幻想中的原型母题 ,以新颖的东方式阐释超越和改变西方根深蒂固的“东方主义”思维定势 ,重塑东方形象。The famous opera Madame Butterfly, representing the thought of 'orientalism' in the west, is the peak of the century in western drama history. The thought of orientalism is consolidated by another famous musical drama Miss Saigon in the late 1980s. However, David Henry Hwang, American-born Chinese, culturally inverted the former two between the eastern and western culture in his drama M. Butterfly. He counteracts a century imaginary archetypal motif in the west by means of distinctive deconstruction and expressive form on stage and he transcends and changes the deep-rooted thinking stereotype of 'orientalism' in the west in original eastern way. Meanwhile, the oriental image has been reshaped.

关 键 词：东方主义 戏剧 歌剧 音乐剧 文化对话 

分 类 号：I712.073[文学—其他各国文学]