10 Journal of Theater Studies 2012 7 139-162 跨 文 化 之 後 : 從 歐 蘭 朵 到 孟 小 冬 前 言 : 跨 文 化 Robert Wilson 1 2 interculturalism transculturalism * Orlando in Asia: Guoguang Opera Company s Collaboration with Robert Wilson and Its Outcome 2011 8 10 Association for Asian Performance 1 2009 2010 20-21 2 2009 D2 2009 12 20 2010NTU 194-139-
3 universal Patrice Pavis source culture target culture filters 4 Rustom Bharucha in-between voluntarism 5 6 Jacqueline Lo Helen Gilbert 3 Brian Singleton, Christopher Balme and Freddie Rokem, TRI s Cambridge Years: A Retrospect, Theatre Research International 35.3 (2010): 222-231. 4 Patrice Pavis, Theatre at the Crossroads of Culture (London: Routledge, 1992), pp. 4-5. 5 multiculturalism voluntarism interculturalism is a voluntarist intervention circumscribed by the agencies of the State and the market. Rustom Bharucha, The Politics of Cultural Practice (Hanover: Wesleyan University Press, 2000), p. 33. 6 Rustom Bharucha, Theatre and the World (London: Routledge, 1993), p. 241. -140-
7 8 interculturalism Richard Schechner intercultural international Culture of Choice 9 cross-cultural theatre cross cross-breed to cross someone double-cross 10 Christopher Balme 7 Jacqueline Lo and Helen Gilbert, Toward a Topography of Cross-Cultural Theatre Praxis, TDR 46.3 (2002): 43. 8 Patrice Pavis, Introduction: Towards a Theory of Interculturalism in Theatre? The Intercultural Performance Reader, ed. Patrice Pavis (London: Routledge, 1996), pp. 2, 25. 9 Richard Schechner, Interculturalism and the Culture of Choice: Richard Schechner interviewed by Patrice Pavis, The Intercultural Performance Reader, ed. Patrice Pavis (London: Routledge, 1996), pp. 41-50. 10 Jacqueline Lo and Helen Gilbert, Toward a Topography of Cross-Cultural Theatre Praxis. -141-
syncretic theatre 11 interculturalism timeless the West and the rest Artaud 1896-1948 Bertolt Brecht 1898-1956 12 Peter Brook Mahabharata Ariane Mnouchkine techniques faith 13 14 2 25-26 11 Christopher Balme, Introduction, Decolonizing the Stage: Theatrical Syncretism and Post- Colonial Drama (Oxford: Oxford University Press, 1999), pp. 1-24. 12 Min Tian, Alienation-Effect for Whom? Brecht s (Mis)interpretation of the Classical Chinese Theatre, Asian Theatre Journal 14.2 (1997): 200-222. 13 A Collision of Cultures: Some Western Interpretations of the Indian Theatre, Asian Theatre Journal 1.1 (1984): 1-20. 14 2009-142-
The Theatre is Oriental Daphne P. Lei Waiting for Meaning Watermill Center We are waiting for Bob 15 HIT 1433 HIT hegemonic intercultural theatre brand name Hit HIT 16 15 Daphne P. Lei, Waiting for Meaning: The Joint Venture of Robert Wilson, Jingju, and Taiwan, Alternative Chinese Opera in the Age of Globalization (New York: Palgrave Macmillan, 2011), pp.142-177. 16 Daphne P. Lei, Interruption, Intervention, Interculturalism: Robert Wilson s HIT Productions in Taiwan, Theatre Journal 63 (2011): 571-586. HIT attitude of nonresistance sketchy script HIT -143-
17 一 歐 蘭 朵 Virginia Woolf 1882-1941 18 17 12 2010 7 245-250 2012 4 24 18 Vita Sackville-West 66 2009 2 100-102 66 2009 2 109-111 -144-
Darryl Pinckney 19 20 21 Jutta Lampe Isabelle Huppert Miranda Richardson Robert Wilson & Hai-Ming Wei Orlando 22 23 19 2009 104 20 Daphne P. Lei, Waiting for Meaning: The Joint Venture of Robert Wilson, Jingju, and Taiwan, p.169. 21 2012 4 13 22 194 23 116 124-145-
二 身 體 之 重 : 威 爾 森 與 魏 海 敏 24 25 26 1433 108 24 2010 92 25 55 26 Arthur Holmberg, The Theatre Of Robert Wilson (Cambridge: Cambridge University Press, 1996), p. 49. -146-
27 28 inscription 29 30 31 32 27 69 28 13 29 2009 2 25-26 30 Daphne P. Lei, Waiting for Meaning: The Joint Venture of Robert Wilson, Jingju, and Taiwan, p.167. 31 32 48-147-
2=1 33? 34 35 36 33 12 34 8 2010 2 42 35 259 2006 5 47-52 36 20-21 -148-
37 38 39 三 歐 蘭 朵 到 孟 小 冬 40 41 37 PAR 193 2009 1 78 38 63 39 73 113 40 2009 2 18 41 2012 4 13-149-
42 1914-1991 1925-1977 43 42 43 2012 4 13-150-
44 45 46 1908-1977 1894-1961 1888-1951 44 45 13 2011 1 35-64 46-151-
47 48 49 47 98 99 48 245-250 49 12 2010 7 185-217 2012 4 24-152-
50 51 52 53 54 50 20 51 2012 4 24 52 217 53 2011 73-124 54 2012 4 13-153-
55 56 57 58 55 2009 2 25-26 56 57 2012 4 24 58 2008-154-
/ 59 59-155-
結 論 60 61 60 35-64 61 2012 4 13-156-
62 1433 Ferdinand Ortiz transculturation interculturalism Diana Taylor Transculturation sense of loss 63 agency 62 2012 4 24 2012 4 13 63 Diana Taylor, Transculturating Transculturation, Interculturalism and Performance, ed. Bonnie Marranca and Gautam Dasgupta (New York: PAJ Publications, 1991), pp.62, 64. -157-
64 64 101-158-
跨 文 化 之 後 : 從 歐 蘭 朵 到 孟 小 冬 Robert Wilson 關 鍵 字 : 跨 文 化 歐 蘭 朵 威 爾 森 孟 小 冬 新 編 京 劇 -159-
After the Intercultural Exchange: Guoguang Opera Company s Orlando and Meng Xiao-dong Hsiao-mei HSIEH Assistant Professor, Department of Drama and Theatre, National Taiwan University Intercultural/ transcultural as an aesthetic notion and artistic practice has been implemented in Taiwan for decades. The intercultural adaptation in Taiwan reached its peak as the internationally renowned director Robert Wilson collaborated with the Taiwanese Beijing opera diva Wei Hai-min and staged his Chinese Orlando in Taipei in 2009. The solo performance received mixed responses: While some argued that the production disclosed the incongruity of two entirely different aesthetics and discredited both the director and the actress, others maintained that a revolutionary work required a different way of seeing. Therefore, an investigation into the collaboration process is worthwhile, that is, how Robert Wilson and Guoguang Opera Company communicated with each other, how the Taiwanese playwright Wang An-qi tried to insert as much Beijing opera literary elements in an already established text as possible, and how the Beijing opera diva Wei adjusted herself to Wilson s aesthetic vision. It may not be a coincidence that in a year after the collaboration, the Guoguang production team came up with another semi-solo performance, Meng Xiao-dong. Based on the story of a Chinese theatre celebrity in the early 20th century, some dramatic aspects in Meng Xiao-dong such as the theme, language, reminiscent stream-of-consciousness narration, and the wide use of monologue seemed inspired by the experience of Orlando. Acknowledging the stake of intercultural exchange, this paper examines in what way the experience of intercultural collaboration has influenced Guoguang Opera Company, represented by its leading actress Wei Hai-min and its artistic director and playwright Wang An-qi, by comparing Orlando and Meng Xiao-dong to see how much they learned from this intercultural exchange. Keywords: Intercultural performance Orlando Robert Wilson Meng Xiao-dong New Bejing opera -160-
引 用 書 目 2008 66 2009 2 109-111 12 2010 7 185-217 2011 73-124 2012 4 24 259 2006 5 47-52 2008 12 2010 7 245-250 2009 2009 2009 12 20 D2 2009 2010NTU 2010 13 2011 1 35-64 2010 2009 2010 20-21 2009 2 25 2 26 66 2009 2 100-102 PAR 193 2009 1 78 2012 4 13 8 2010 2 35-46 Balme, Christopher. Introduction. Decolonizing the Stage: Theatrical Syncretism and Post-Colonial Drama. Oxford: Oxford University Press, 1999. Bharucha, Rustom. A Collision of Cultures: Some Western Interpretations of the Indian Theatre. Asian Theatre Journal 1.1(1984): 1-20.. Theatre and the World. London: Routledge, 1993.. The Politics of Cultural Practice. Hanover: Wesleyan University Press, 2000. -161-
Holmberg, Arthur. The Theatre Of Robert Wilson. Cambridge: Cambridge University Press, 1996. Lei, Daphne P. Waiting for Meaning: The Joint Venture of Robert Wilson, Jingju, and Taiwan. Alternative Chinese Opera in the Age of Globalization. New York: Palgrave Macmillan, 2011.. Interruption, Intervention, Interculturalism: Robert Wilson s HIT Productions in Taiwan. Theatre Journal 63(2011): 571-586. Lo, Jacqueline, and Helen Gilbert. Toward a Topography of Cross-Cultural Theatre Praxis. TDR 46.3(2002): 31-53. Pavis, Patrice. Theatre at the Crossroads of Culture. London: Routledge, 1992.. Introduction: Towards a Theory of Interculturalism in Theatre? The Intercultural Performance Reader. Ed. Patrice Pavis. London: Routledge, 1996. Schechner, Richard. Interculturalism and the Culture of Choice: Richard Schechner interviewed by Patrice Pavis. The Intercultural Performance Reader. Ed. Patrice Pavis. London: Routledge, 1996: 41-50 Singleton, Brian, Christopher Balme and Freddie Rokem. TRI s Cambridge Years: A Retrospect. Theatre Research International 35.3(2010): 222-231 Taylor, Diana. Transculturating Transculturation. Interculturalism and Performance. Ed. Bonnie Marranca and Gautam Dasgupta. New York: PAJ Publications, 1991. Tian, Min. Alienation-Effect for Whom? Brecht s (Mis)interpretation of the Classical Chinese Theatre. Asian Theatre Journal 14.2(1997): 200-222. -162-