The Poetics of Difference and Displacement pdf epub mobi txt 电子书 下载 2025
- 跨文化研究
- 田民
- 海外中国研究
- 剧场研究
- 文学批评
- 文化研究
- 后殖民主义
- 差异性
- 流离失所
- 身份认同
- 叙事学
- 空间理论
- 跨文化研究
- 诗学
具体描述
作者简介
目录信息
List of Illustrations
Acknowledgements
Introduction
Part One
Chapter One From the Neo-Classical to the Early Avant-garde: Europe’s First
Encounters with Traditional Chinese Theatre
Chapter Two The Effect of Displacement: Brecht’s Concept of “Alienation Effect” and
Traditional Chinese Theatre
Chapter Three Re-Theatricalizing the Theatre of the Grotesque: Meyerhold’s “Theatre of
Convention” and Traditional Chinese Theatre
Chapter Four “The danger of knowing all about the East”: Gordon Craig, Mei Lanfang
and the Chinese Theatre
Chapter Five Traditions, Differences, and Displacements: the Theoretical Construct of
Eugenio Barba’s “Eurasian Theatre”
Chapter Six Intercultural Theatre at the New Fin de Siècle: Peter Sellars’s Postmodern
Approach to Traditional Chinese Theatre
Part Two
Chapter Seven In Search of the Modern: Intercultural Transformation of Modern Chinese
Theatre
Chapter Eight Wiping Real Tears with Water-Sleeves: the Displacement of Stanislavsky
to Traditional Chinese Theatre
Chapter Nine From “Avant-garde” to “Tradition”: Contemporary Chinese Theatre in
Search of Identity
Chapter Ten When Cathay Meets Greek: the Adaptation and Staging of Greek Tragedy in
Traditional Chinese Theatrical Forms
Chapter Eleven Sinicizing the Bard: the Adaptation and Staging of Shakespeare in
Traditional Chinese Theatrical Forms
Conclusion
Notes
Glossary
Works Cited
Index
· · · · · · (收起)
读后感
This book studies what it terms “displacement” in “intercultural theater” based on the mutual interaction between Western and traditional Chinese theaters. On the one side there are Craig, Meyerhold, Brecht, Brook, Barba, and Sellars, and on other Mei, ...
评分This book studies what it terms “displacement” in “intercultural theater” based on the mutual interaction between Western and traditional Chinese theaters. On the one side there are Craig, Meyerhold, Brecht, Brook, Barba, and Sellars, and on other Mei, ...
评分This book studies what it terms “displacement” in “intercultural theater” based on the mutual interaction between Western and traditional Chinese theaters. On the one side there are Craig, Meyerhold, Brecht, Brook, Barba, and Sellars, and on other Mei, ...
评分This book studies what it terms “displacement” in “intercultural theater” based on the mutual interaction between Western and traditional Chinese theaters. On the one side there are Craig, Meyerhold, Brecht, Brook, Barba, and Sellars, and on other Mei, ...
评分This book studies what it terms “displacement” in “intercultural theater” based on the mutual interaction between Western and traditional Chinese theaters. On the one side there are Craig, Meyerhold, Brecht, Brook, Barba, and Sellars, and on other Mei, ...
用户评价
呵呵吼半年前看的又记不大清了...果断又借了一遍...
评分呵呵吼半年前看的又记不大清了...果断又借了一遍...
评分呵呵吼半年前看的又记不大清了...果断又借了一遍...
评分以一个世纪中西剧场间的跨文化置换为主轴，无论是新古典主义的伏尔泰等，还是早期欧洲先锋派如莱茵哈特，直至布莱希特的史诗剧/间离效果、梅耶荷德的程式化剧场/丑怪美学、戈登·克雷的傀儡剧场、尤金诺·芭芭的欧亚剧场/前置表达以及彼得·塞勒斯对样板戏、昆曲的戏仿与改编，无不具有欧洲中心、将中国戏剧内蕴的圆融和谐、设身处地/现身说法式的表演置换为碎片、裂罅、充满张力、程式化、陌生化的美学来为他们反幻觉/现实主义剧场的先锋运动服务；中国早期戏剧人假易卜生式的戏剧营构、现实主义的引入来批判古典戏曲，此后的国剧运动、左翼戏剧大众化、戏曲与斯坦尼体系的结合、当代先锋派之回归传统乃至将古希腊悲剧、莎剧戏曲化的实践，则是他们反向置换前述的布、梅等人的戏剧理念，从而达到各自的意识形态/政治宣传、美学创新和反拨的目的。
评分以一个世纪中西剧场间的跨文化置换为主轴，无论是新古典主义的伏尔泰等，还是早期欧洲先锋派如莱茵哈特，直至布莱希特的史诗剧/间离效果、梅耶荷德的程式化剧场/丑怪美学、戈登·克雷的傀儡剧场、尤金诺·芭芭的欧亚剧场/前置表达以及彼得·塞勒斯对样板戏、昆曲的戏仿与改编，无不具有欧洲中心、将中国戏剧内蕴的圆融和谐、设身处地/现身说法式的表演置换为碎片、裂罅、充满张力、程式化、陌生化的美学来为他们反幻觉/现实主义剧场的先锋运动服务；中国早期戏剧人假易卜生式的戏剧营构、现实主义的引入来批判古典戏曲，此后的国剧运动、左翼戏剧大众化、戏曲与斯坦尼体系的结合、当代先锋派之回归传统乃至将古希腊悲剧、莎剧戏曲化的实践，则是他们反向置换前述的布、梅等人的戏剧理念，从而达到各自的意识形态/政治宣传、美学创新和反拨的目的。
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