重论“国剧运动”的跨文化困境

摘要

In the 1920s , the National Drama Movement was started in New York by a group of Chinese students .Despite a seemingly nationalist echo ,their“national drama”had as its true referent the localized modern drama ,i .e .huaju .This can be attested by the educational background of the movement’s proponents , the American context as it was as well as the Irish National Theatre Movement as their model .In the case of the National Drama Movement as a cross‐cultural event in nature ,such an ironic discrepancy between the signified and referent gave rise to a series of cross‐cultural predicaments . Indigenous dramatic forms , such as Peking Opera , never failed to present formidable challenges to huaju as guoju . At the same time , the movement’ s proponents also unwittingly fell prey to the discursive logic of defining Chinese traditions in terms of Western values .%“国剧运动”的困境并不像以往所论的那样简单。学界往往忽视了它最初是于1924年在美国纽约被提出来的这一重要事实。从倡导者的知识背景、当时的美国语境及其模仿对象“爱尔兰民族戏剧运动”推断，“国剧运动”的“国剧”当是指“本土化话剧”。返回中国后，此一设想即遭遇到两重的跨文化尴尬：其一，“话剧”在美国被称为“national drama”原也顺理成章，而一旦在中国换称“国剧”，便受到了本土戏曲的挑战；其二，倡导者们在借用西方理论话语重新诠释与定位中国戏曲时，还落入了“以西格中”的运思陷阱。