Abstract: The relative ignorance and one-sided interpretation of the concept of “culture” reflect the difficulties encountered by intercultural theatre studies due to the overemphasis on dualistic and decontextualized analysis modes, which provided an opportunity to reinterpret and learn from Raymond Williams' cultural theory. Williams' concepts as “culture is ordinary,” “common culture,” “cultural hegemony” and “structure of feeling,” which show his efforts to dissolve the hierarchy boundaries of culture, or to objectively analyze cultural power conflicts, or attach great importance to the specific historical and social context of cultural activities, are sufficient to make up for the shortcomings of the “cultural” interpretation mode in intercultural (theatre) research. “Structure of feeling” is also highly applicable to criticize drama texts/performances, thereby enrich the critical perspective of intercultural theatre.

Key words: intercultural theatre, Raymond Williams, common culture, cultural hegemony, structure of feeling

摘要： 对“文化”概念的相对忽视和片面解读,折射出跨文化戏剧研究因过度强调二元对立和去语境化的分析模式而遭遇的困境,从而为重新解读并借鉴雷蒙·威廉斯的文化理论提供了契机。威廉斯“文化是平常的”“共同文化”“文化霸权”和“感觉结构”等概念,或致力于消解文化等级边界,或客观分析文化权力冲突,或高度重视文化活动的具体历史社会语境,都足以弥补跨文化(戏剧)研究中“文化”解读模式的短板;其中的“感觉结构”高度适用于戏剧文本/表演批评,也能丰富跨文化戏剧的批评路径。

关键词: 跨文化戏剧, 雷蒙·威廉斯, 共同文化, 文化霸权, 感觉结构