“提纯”与“杂交”——20世纪早期梅兰芳剧团与日本剧团欧美公演中文化身份的呈现与接受

摘要/Abstract

摘要： 梅兰芳剧团和3个日本剧团于20世纪早期在欧美的公演,将近代中日两国文化身份中的传统性与现代性的“显”“隐”位置关系在跨文化语境中的呈现与接受机制清晰地表露了出来。无论是梅兰芳剧团用隐晦的现代化手段来衬托一种经过精心纯化的戏曲传统,还是日本剧团刻意引入西方写实主义戏剧舞台元素来彰显日本戏剧的现代性品质,两者共同揭示了民族文化身份在具体的历史语境中所具有的流动性与复杂性,质疑与挑战了西方对文化“他者”进行均质化处理的本质主义文化认同观。

关键词: 梅兰芳, 川上剧团, 花子剧团, 筒井剧团, 文化身份

Abstract: The performance of Mei Lanfang Theatrical Company and three Japanese theatrical companies in Europe and United States in the early 20th century clearly demonstrated the mechanism of manifestation and reception of the “visible” and “invisible” relationship between traditionality and modernity in China and Japan's cultural identity in a cross-cultural context in modern times. While the Mei Lanfang Theatrical Company highlighted a deliberately purified Chinese theatre tradition with veiled modern practices, the Japanese companies underlined the modern quality of Japanese theatre tradition by consciously assimilating the stage elements of Western realist theatre. They together revealed the flexibility and complexity of national cultural identity in specific historical contexts, and thus challenged the homogenizing treatment of cultural “Others” by the West, which represented an essentialist view on cultural identification.

Key words: Mei Lanfang, the Kawakami troupe, the Hanako troupe, the Tsutsui troupe, cultural identity

高洋. “提纯”与“杂交”——20世纪早期梅兰芳剧团与日本剧团欧美公演中文化身份的呈现与接受[J]. 中国比较文学, 2021, 0(3): 76-88.

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