对话与沟通:两岸三地的华文戏剧的文化“亲合力”——从《红鼻子》在大陆的演出到第一届华文戏剧节

Dialogues and Communication: Cultural " Affinity" of Chinese Drama between Chinese Mainland, Taiwan and Hong Kong

对中国大陆、香港、台湾的华文戏剧的文化模式进行分析 ,可见两岸三地之间”血浓于水”的文化”亲合力”。戏剧是一种交流 ,一种对话。在两岸三地之间进行这种华文戏剧的交流和对话 ,不仅提高了正在复苏的戏剧文化本身的凝聚力 ,也加深了两岸三地之间的沟通和理解。用文化学和传播学等方式 ,从文化观念的沟通、地域文化的沟通和语言文化的沟通等三个方面进行分析 ,可以证明中华民族 ,属于同一”族类” ,具有共同的图腾 ,共同的信仰。因此在全球化的语境中 ,文化的民族性和本土性也越来越重要。

If we analyze the culture of the Mandarin Chinese dramas of Chinese mainland, Taiwan and Hong Kong, we can see the cultural 'affinity' of 'blood is thicker than water' between Chinese mainland, Taiwan and Hong Kong. Drama is a communion and a dialogue. The communion and dialogue between the three districts can reinforce the recovering condensation of the theatrical culture itself, and at the same time, reinforce the communication and comprehension between the three. By analyzing the communication of the cultural idea, regional culture and language with civilization and transmission, we can prove that the Chinese Nation are a clansman and have their own totem and belief. So in the global language condition, the cultural nationality and nativism become more and more important. The Mandarin Chinese drama is an embodiment of the cultural nationality and nativism.