摘要
伏尔泰《中国孤儿》与墨菲《中国孤儿》的改写初衷均为文化利用,改写立场均倾向于本土化.二人依据目标语国家政治局势与国际关系、戏剧审查制度、戏剧审美与目标受众审美期待进行改写,对文化输出方的态度各异.前者持认同,后者持排斥,利用文化冲突推进文化协商.在改写本的修改过程中,前者多受戏剧审查制度与受众审美期待影响,后者多受戏剧审美和赞助人影响.《中国孤儿》凭借跨文化戏剧的文化身份,实现了《赵氏孤儿》从中国到法国继而再到英国循序渐进的传播过程,推动了中国古典戏曲走出去的历史进程.这证实了通过本土化策略、改写方法、模仿及杂糅手段推动文化协商的合理性.同时表明,后殖民视角下的跨文化研究作为一种研究范式,具有理论发展潜力.
Abstract
Voltaire's L'orphelin De La Chine and Arthur Murphy's The Orphan of China initiated for cultural utilization,and inclined to localization.The two rewrote based on the political situation and international relations of the target language country,drama censorship system,drama aesthetics,and the aesthetic expectations of the target audience,with different atti-tudes towards cultural output parties.The former holds identification,while the latter holds exclusion,using cultural conflicts to promote cultural negotiation.In the process of revising the revised version,the former is often influenced by the theatrical censor-ship system and audience aesthetic expectations,while the latter is often influenced by theatrical aesthetics and sponsors.With the cultural identity of cross-cultural drama,The Orphan of China achieved a gradual dissemination process of The Orphan of Zhao from China to France and then to England,promoting the historical process of Chinese classical opera going global.This confirms the rationality of promoting cultural negotiation through localization strategies,rewriting methods,imitation,and hybrid-ization.At the same time,it indicates that cross-cultural research from a postcolonial perspective,as a research paradigm,has theoretical development potential.
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