如何并置东方与西方:莎剧歌舞伎的三个案例

How to Juxtapose the East and the West:Illustration of Three Productions of Shakespearean Kabuki

日本戏剧界对“莎剧歌舞伎”的探索为跨文化戏剧提供了可借鉴的经验。《何樱彼樱钱世中》《叶舞列土倭锦绘》《NINAGAWA十二夜》这三部莎剧歌舞伎背后是近代日本戏剧发展的坐标轴:从与西方戏剧接触初期只能以歌舞伎演出莎士比亚,到西式新剧对日本剧场的征服,再到对民族戏剧的重新发现与定位。同时,这三部作品也反映三种典型的跨文化创作心态:《何樱彼樱钱世中》以折衷主义立场和猎奇态度将他者纳入叙事,实则将他者纳入了自我话语系统;《叶舞列土倭锦绘》使民族戏剧与国际偶像比肩,在强调民族个性的同时争取进入世界文明中心的机会;蜷川幸雄的《NINAGAWA十二夜》超越东西对立的二元范式,制造了一个自由的“第三空间”。

The exploration of“Shakespearean Kabuki”by the Japanese theatre provides a reference for the cross⁃cultural theatre.What lies behind the three Shakespearean kabuki plays,What Cherry Blossoms,Japanese Hamlet and NINAGAWA The Twelfth Night,is the coordinate axis of the development of modern Japanese theatre:from the early stage of contacts with the Western theatre,when Shakespearean plays could only be performed in kabuki,to the conquest of Japanese theatre by new Western⁃style theatre,and then to the rediscovery and positioning of national theatre.At the same time,the three works also reflect three typical attitudes towards the cross⁃cultural creation:What Cherry Blossoms weaves the Other into its narrative with eclecticism and curiosity,which in fact integrates the Other into its own discourse system;Japanese Hamlet puts Japanese national theatre on a par with the international Bard,striving for an opportunity to enter the center of world civilization while emphasizing national personality;NINAGAWA The Twelfth Night transcends the dualistic paradigm of opposites between the East and the West,creating a free“third space”.