摘要
《安娜·克里斯蒂》是尤金·奥尼尔向成熟期过渡的剧作,但经过中国舞台上的多次重演,这部作品已成为跨文化戏剧改编在重复与差异中经典化原作的范例,体现了跨文化戏剧事件的当代性价值。以此剧的中国演出史为实例,本文从本雅明和阿甘本的"当代性"阐释和文艺界的经典之争出发,探究跨文化戏剧的时间之维,考察文化记忆的当下触发在跨文化经典建构过程中起到的政治及诗学作用。
Anna Christie, Eugene O＇Neill＇s transitional work towards maturity, after recurrent revivals on the Chinese stage has exemplified how adaptation as an intercultural practice may canonize the original through repetition and difference, signifying the contemporary value of intercultural theatrical event. This article takes the performance history of Anna Christie in China as a case study. In light of Walter Benjamin and Giorgio Agamben＇s philosophical discussions on ＂contemporariness,＂ addressing the ongoing debate over literary canon among literary critics and scholars, it explores the temporal dimension of intercultural theatre to examine the political and poetic functions of cultural memory in the process of intercultural canonization.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2018年第5期31-45,共15页
Drama:The Journal of the Central Academy of Drama
基金
国家社科基金项目“20世纪美国戏剧诗学研究”(项目编号:14BWW046)的阶段性成果
国家社科基金艺术学重大项目“当代欧美戏剧理论前沿问题研究”(项目编号:18ZD06)的阶段性成果.
关键词
尤金·奥尼尔
跨文化戏剧
当代性
经典化
全球本土化
Eugene O＇Neill
intercultural theatre
contemporariness
canonization
glocalization
