“话剧”:一个术语的诞生和多重侨易的发生

“Huaju”: The Birth of a Term and Its Kiao-ological Development

"话剧"作为既定的戏剧学术语,能够被作为固定指称沿袭使用,意味着它在一个深刻的知识性约定层面上,区别于偶然性的、普通的命名与接受过程。因此,作为戏剧学术语的"话剧"的诞生,既是一个文化事件,也是一项理论实践,它同时具有历史和文字的双重意义维度。在这个约定俗成的戏剧学术语中,不仅反射出一种知识生产所持有的意识形态色彩,而且还镶嵌着中国和西方戏剧(文化)观念之间的互动的图式。借助侨易观念提供的观察角度,我们可以看到"话剧"这一术语的生成过程中,发生了多重的侨易现象,而侨易主题是一种身体化的戏剧观念。洪深的身体/知识侨易暗示了他"西方主义——民族主义——戏剧"的二元三维式的精神结构,并赋予"话剧"这一术语一种不可愈合的裂隙和无法调和的紧张。"话剧"的命名策略中已经为中国戏剧的未来预留下了民主化与现代化的难题。

＂Huaju＂ is an accepted dramatic term in China. It is used as a definite designation, which has distinguished it from casually named and accepted common phrases, and identified it as a term of intellectual consensus. The birth of the dramatic and academic term ＂Huaju＂ is both a cultural event and a practice supported by theories. It has a double significance in history and in philology. This term reflects the ideological features of the production of knowledge and is loaded with interactive patterns of Chinese and western dramatic （cultural） notions. In the light of Kiao-ology, we may realize that in the embryonic process of the term ＂Huaju＂, more than one kiao-ologieal phenomenon appeared and the kiao-ologieal theme presents a physiealized notion of drama. The physieality / knowledge Kiao-ology created by Hong Shen indicates that his ＂western-national-dramatic＂ spiritual structure has binary and three-dimensional qualities, and the term ＂Huaju＂ experienced the process of irreconcilable fracture and anxiety, while it is gradually accepted by Chinese people. The naming strategy of ＂Huaju＂ challenged the democratization and modernization of Chinese drama at that time.