表演民族志及其在教育领域的应用实践——以卡尔·巴格利的“确保开端”项目为例

PERFORMANCE ETHNOGRAPHY AND ITS APPLICATION PRATICE IN THE FIELD OF EDUCATION: Taking Carl Bagley's ‘Sure Start'Program as an Example

20世纪80年代末90年代初,伴随着民族志写作的"表述危机",表演民族志在欧美等国家迅速发展起来。乔治·米德的实用主义互动论、美国种族理论和与之相关的表演作品、亨利·吉鲁的抵制行动观点以及源自拉美的"证明式叙事"和"记忆"两个概念是表演民族志的重要理论来源。表演民族志的主要特征表现为艺术性、体验性、表演性和批判参与四个方面。通过简述卡尔·巴格利"确保开端"项目从制作到演出的过程展现表演民族志在教育领域中的应用与实践。表演民族志在呈现作品精准性、评判标准选择和可推广性等方面遭到了质疑,但这些问题可通过与具有艺术表演素养的专家合作、提高研究者自身鉴赏力等途径加以解决。

With the crisis of representation in ethnographic writings, performance ethnography devel- oped in Euro- American countries in the late 1980s and the early 1990s. Its important theoretical sources come from the pragmatist interactionism of George Herbert Mead, the American race theory and relative works, the viewpoint of Henry Giroux on resistance to performance as well as the tradition of ＇ testimonio＇ and ＇ memoria＇ stemmed from Latin America. Performance ethnography is mainly characterized by artistry, experience, performing and critical engagement. By illustrating the process of Carl Bagley＇ s ＇ Sure Start＇ program from device to performance, the article reveals its application practice of performance ethnography in educational field. Although the accuracy, standards of judgment and popularization of works of perform- ance ethnography are still in question, these problems can be solved by cooperating with experts in artistic performance and improving the researcher＇ s quality of connoisseurship.