戏剧比较研究再思考

Reflection on Comparative Drama Research

多年来,"中外戏剧比较研究"和"中西戏剧比较研究"几乎成为同义语;然而,这二者之间却是不能划一等号的。本文探析了形成戏剧比较研究中这种"中西"两极对照思维模式的历史原因,指出21世纪的戏剧比较研究,不应该再囿于传统的"中西"两极观,而应该逐步建立起多元的、全方位的世界戏剧观。本文还指出戏剧比较研究并不等同于比较文学研究,它不应该是比较文学研究在戏剧研究领域内的延伸。通过回顾中国戏剧比较研究史上一些具代表意义的范例,文章阐发了它们对于当时的戏剧实践以及后续理论研究所产生的重要影响。本文质疑"中国的莎士比亚汤显祖"这一流行说法,并通过解析该个案,指出戏剧比较研究既要立足戏剧研究之本位,也要建立起跨文化、跨学科的宽广视野。

For many years,scholars take ＂ comparative drama research between Chinese and foreign countries＂ as ＂ comparative drama research between Chinese and western countries＂.In fact,they don＇t refer to the same thing.The present article explores the underlying historical reasons resulting the two-pole thinking mode of ＂ Chinese and western＂,and indicates that in 21st century,experts in comparative drama research should not confine it to the conservative point of view,but should gradually establish a multiple and global view of drama.In addition,different from comparative literature research,comparative drama research should not be the extended part of comparative literature research.The present article reviews some representative examples in Chinese comparative drama research,and expounds their significant impact upon dramatic practice of that time and theoretical studies later on.At last,by analyzing and questioning the prevailing saying ＂ Tang Xianzu is the Chinese version of Shakespeare＂,the article sums up that comparative drama research should not be dissociated with drama itself,however,it must endeavor to establish an extensive,transcultural and interdisciplinary vision.