As a cross-lingual, cross-cultural, cross-time-and-space communication, religious translation has inevitably been stamped, from the very beginning, with the brand of ideology and has, more or less, been restrained by ...As a cross-lingual, cross-cultural, cross-time-and-space communication, religious translation has inevitably been stamped, from the very beginning, with the brand of ideology and has, more or less, been restrained by political factors there and then. The translated version, very often, cannot truly mirror the essence of the source text mainly because translation is manipulated by the power discourse in the target culture.展开更多
In cross-cultural theaters of the drama field,it has become a universal trend to integrate tradition and modernity as well as China and the West in the cultural exchange between different nations.Such a normality brin...In cross-cultural theaters of the drama field,it has become a universal trend to integrate tradition and modernity as well as China and the West in the cultural exchange between different nations.Such a normality brings some new opportunities to the dramatic creation of youth directors while posing greater challenges.As to opportunities,it can make the stage processing of directors more distinctive while enriching their aesthetic pursuits;the challenge lies in how to endow the work with contemporary expression without breaking away from tradition.Nowadays,more and more directors are seeking“poetic reconstruction”in cross-cultural theaters,and keen direction artists are exploring how to better express the connotation of their work,including the inner feelings of roles,their subconsciousness,and transmitting the unfinished meaningful words delicately at the special time and space offered by the stage,and make use of the unique vocabulary of directors to form new aesthetic experience and expressive effects,so as to enlighten the audience to make rational reflection in addition to having emotional consonance.Therefore,“poetic reconstruction of‘self-centered’”is critical in cross-cultural theatrical creation.In view of this condition,I will take the creation of Xi,an experimental drama,as an example,and discuss how directors reconstruct“self-centered”poetry in the cross-cultural theaters to form distinctive and unique expressions,so as to accomplish beneficial exploration of the co-existence of philosophy and beauty in the combination of classicism and contemporaneity and the process of taking in everything.展开更多
文摘As a cross-lingual, cross-cultural, cross-time-and-space communication, religious translation has inevitably been stamped, from the very beginning, with the brand of ideology and has, more or less, been restrained by political factors there and then. The translated version, very often, cannot truly mirror the essence of the source text mainly because translation is manipulated by the power discourse in the target culture.
文摘In cross-cultural theaters of the drama field,it has become a universal trend to integrate tradition and modernity as well as China and the West in the cultural exchange between different nations.Such a normality brings some new opportunities to the dramatic creation of youth directors while posing greater challenges.As to opportunities,it can make the stage processing of directors more distinctive while enriching their aesthetic pursuits;the challenge lies in how to endow the work with contemporary expression without breaking away from tradition.Nowadays,more and more directors are seeking“poetic reconstruction”in cross-cultural theaters,and keen direction artists are exploring how to better express the connotation of their work,including the inner feelings of roles,their subconsciousness,and transmitting the unfinished meaningful words delicately at the special time and space offered by the stage,and make use of the unique vocabulary of directors to form new aesthetic experience and expressive effects,so as to enlighten the audience to make rational reflection in addition to having emotional consonance.Therefore,“poetic reconstruction of‘self-centered’”is critical in cross-cultural theatrical creation.In view of this condition,I will take the creation of Xi,an experimental drama,as an example,and discuss how directors reconstruct“self-centered”poetry in the cross-cultural theaters to form distinctive and unique expressions,so as to accomplish beneficial exploration of the co-existence of philosophy and beauty in the combination of classicism and contemporaneity and the process of taking in everything.
