Abstract: Homi K. Bhabha's discussion of mimicry in colonial situations demonstrates the fluidity and fictionality of identity in intercultural encounters, also provides methodological insights into the study of intercultural theater and complements the analytical models of Orientalism and cultural imperialism. However, Bhabha's incomplete use of the logic of supplement still presupposes white culture as an origin. Rey Chow further reveals the psychological dimension that has not been fully subjectivized in the process of identity formation. If we think about identity performance in cross-cultural contexts, we need to introduce a revised framework for affective analysis. The concept of “affective medium” gives historical and political connotations to affect, becoming a collective experiential space that bridges the gap between feeling and action. As an affective medium, intercultural theatre integrates and transcends different cultural boundaries, audience-actor groups, social environments, identities and mediums, transforming the theater that originally separated society from art into a field that directly develops political action and identity competition.

Key words: intercultural theatre, “affective medium”, mimicry, identity politics, performance

摘要： 霍米·巴巴就殖民情境中模仿行为的论述,展示了跨文化遭遇中身份的流动性和虚构性,为跨文化戏剧研究提供了方法论上的启示,并对东方主义和文化帝国主义分析模式构成有益的补充。但巴巴对“替补”逻辑的不彻底运用,使其论述仍然预设了白人文化的起源性质。周蕾进一步揭示了身份形成中未能被完全主体化的心理层次。思考跨文化情境中的身份表演时,需引入一个被修订的情动分析框架。“情动媒介”的概念赋予情动以历史和政治内涵,成为桥接感觉与行动之间的集体经验空间。跨文化戏剧作为“情动媒介”,整合并跨越了不同的文化边界、观演群体、社会环境、身份认同和媒介类型,使原本区隔社会和艺术的剧场,转化为直接开展政治行动和身份竞争的场域。

关键词: 跨文化戏剧, “情动媒介”, 模仿, 身份政治, 表演