The Poetics of Difference and Displacement pdf epub mobi txt 電子書 下載2025
- 跨文化研究
- 田民
- 海外中國研究
- 劇場研究
- 文學批評
- 文化研究
- 後殖民主義
- 差異性
- 流離失所
- 身份認同
- 敘事學
- 空間理論
- 跨文化研究
- 詩學
具體描述
著者簡介
圖書目錄
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)
讀後感
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, ...
評分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, ...
評分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, ...
評分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, ...
評分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, ...
用戶評價
以一個世紀中西劇場間的跨文化置換為主軸，無論是新古典主義的伏爾泰等，還是早期歐洲先鋒派如萊茵哈特，直至布萊希特的史詩劇/間離效果、梅耶荷德的程式化劇場/醜怪美學、戈登·剋雷的傀儡劇場、尤金諾·芭芭的歐亞劇場/前置錶達以及彼得·塞勒斯對樣闆戲、昆麯的戲仿與改編，無不具有歐洲中心、將中國戲劇內蘊的圓融和諧、設身處地/現身說法式的錶演置換為碎片、裂罅、充滿張力、程式化、陌生化的美學來為他們反幻覺/現實主義劇場的先鋒運動服務；中國早期戲劇人假易蔔生式的戲劇營構、現實主義的引入來批判古典戲麯，此後的國劇運動、左翼戲劇大眾化、戲麯與斯坦尼體係的結閤、當代先鋒派之迴歸傳統乃至將古希臘悲劇、莎劇戲麯化的實踐，則是他們反嚮置換前述的布、梅等人的戲劇理念，從而達到各自的意識形態/政治宣傳、美學創新和反撥的目的。
评分嗬嗬吼半年前看的又記不大清瞭...果斷又藉瞭一遍...
评分以一個世紀中西劇場間的跨文化置換為主軸，無論是新古典主義的伏爾泰等，還是早期歐洲先鋒派如萊茵哈特，直至布萊希特的史詩劇/間離效果、梅耶荷德的程式化劇場/醜怪美學、戈登·剋雷的傀儡劇場、尤金諾·芭芭的歐亞劇場/前置錶達以及彼得·塞勒斯對樣闆戲、昆麯的戲仿與改編，無不具有歐洲中心、將中國戲劇內蘊的圓融和諧、設身處地/現身說法式的錶演置換為碎片、裂罅、充滿張力、程式化、陌生化的美學來為他們反幻覺/現實主義劇場的先鋒運動服務；中國早期戲劇人假易蔔生式的戲劇營構、現實主義的引入來批判古典戲麯，此後的國劇運動、左翼戲劇大眾化、戲麯與斯坦尼體係的結閤、當代先鋒派之迴歸傳統乃至將古希臘悲劇、莎劇戲麯化的實踐，則是他們反嚮置換前述的布、梅等人的戲劇理念，從而達到各自的意識形態/政治宣傳、美學創新和反撥的目的。
评分以一個世紀中西劇場間的跨文化置換為主軸，無論是新古典主義的伏爾泰等，還是早期歐洲先鋒派如萊茵哈特，直至布萊希特的史詩劇/間離效果、梅耶荷德的程式化劇場/醜怪美學、戈登·剋雷的傀儡劇場、尤金諾·芭芭的歐亞劇場/前置錶達以及彼得·塞勒斯對樣闆戲、昆麯的戲仿與改編，無不具有歐洲中心、將中國戲劇內蘊的圓融和諧、設身處地/現身說法式的錶演置換為碎片、裂罅、充滿張力、程式化、陌生化的美學來為他們反幻覺/現實主義劇場的先鋒運動服務；中國早期戲劇人假易蔔生式的戲劇營構、現實主義的引入來批判古典戲麯，此後的國劇運動、左翼戲劇大眾化、戲麯與斯坦尼體係的結閤、當代先鋒派之迴歸傳統乃至將古希臘悲劇、莎劇戲麯化的實踐，則是他們反嚮置換前述的布、梅等人的戲劇理念，從而達到各自的意識形態/政治宣傳、美學創新和反撥的目的。
评分嗬嗬吼半年前看的又記不大清瞭...果斷又藉瞭一遍...
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