本文選題：《蝴蝶君》 + 《中式英語》�。� 參考：《南京師范大學(xué)》2014年碩士論文

【摘要】：作為華裔美國戲劇的領(lǐng)軍人物之一,黃哲倫一直致力于探討中美交流中的文化沖突。在其作品中,文化沖突的表現(xiàn)不是局限于人物的語言和作品的主題思想,而是更加深入到作品創(chuàng)作的文化背景。本文從人類表演學(xué)的行為重建理論和社會表演學(xué)出發(fā),在仔細閱讀了黃哲倫的代表作《蝴蝶君》和《中式英語》的基礎(chǔ)上,深入挖掘了文本集中探討的沖突問題,并進一步分析行為重建和社會表演是如何導(dǎo)致了沖突的發(fā)生和發(fā)展。 首先,論文對謝克納為代表的人類表演學(xué)的基本概念進行了批評性的回顧,并著重分析了行為重建理論在謝克納人類表演學(xué)中的重要地位和作用以及人類表演學(xué)在中國的發(fā)展和演變,即社會表演學(xué)的產(chǎn)生。然后,論文集中探討了黃哲倫的經(jīng)典戲劇《蝴蝶君》中的重建行為,將黃哲倫的《蝴蝶君》看成是基于普契尼《蝴蝶夫人》和當(dāng)年《紐約時報》的新聞等的一次重建行為,而劇中人物高仁尼和宋麗玲的表演是各自對蝴蝶夫人這一形象的行為重建,指出該劇悲劇性的結(jié)局是人物不協(xié)調(diào)、不一致重建行為的必然結(jié)果：男主角高仁尼的行為重建是建立在文化刻板印象和自身想象基礎(chǔ)之上,而女主角宋麗玲的行為重建則是反擊文化刻板印象和精心策劃的結(jié)果；接著,論文從社會表演學(xué)的角度探討了黃哲倫的新劇《中式英語》,集中分析了劇中三個主要人物的社會表演,指出正是由于對文化了解的不足,導(dǎo)致了社會表演的失敗,從而進一步加深了文化沖突；另一方面,也是由于對文化的逐步了解修正和改善了社會表演,從而防止了沖突的進一步惡化。最后,論文作者認為：從行為重建的角度分析《蝴蝶君》,可以清楚地看出高仁尼和宋麗玲重建蝴蝶夫人這一形象的行為從開始到最后高潮一直處于不配合、不協(xié)調(diào)直到最后南轅北轍的結(jié)局；而通過分析《中式英語》中三位主要人物社會表演的優(yōu)點與不足,可以得出如何“表演”好角色應(yīng)有的基本知識和注意事項,彌合溝通的差距,化解交流的沖突,這也正是作為新興學(xué)科的社會表演學(xué)努力發(fā)展的方向和現(xiàn)實意義。
[Abstract]:As one of the leading figures in Chinese-American drama, Hwang has been devoted to the cultural conflict between China and the United States. In his works, the expression of cultural conflict is not confined to the language of the characters and the theme of the works, but more deeply into the cultural background of the creation of the works. Based on the theory of behavioral reconstruction of human performance and social performance, and on the basis of careful reading of Huang Zhelun's masterpieces, Butterfly King and Chinglish, this paper explores the conflict problems in text concentration. And further analysis of how behavior reconstruction and social performance led to the occurrence and development of conflict. First of all, the thesis reviews the basic concepts of Human Performing Science represented by Cheickna. It also analyzes the important position and function of behavior reconstruction theory in Cheickna human performance theory and the development and evolution of human performance theory in China, that is, the emergence of social performance theory. Then, the paper focuses on the reconstruction behavior in the classic drama of Huang Zellen, "the Butterfly Lord", and regards it as a reconstruction act based on Puccini's "Lady Butterfly" and the News of the New York Times. However, the performances of the characters Gao Renni and Song Liling are each to reconstruct the image of Lady Butterfly, pointing out that the tragic ending of the play is that the characters are not in harmony. The inevitable result of inconsistent reconstruction is that the male protagonist Gaurenni's behavior reconstruction is based on the cultural stereotype and her own imagination, while the heroine Song Liling's behavior reconstruction is the result of countering the cultural stereotype impression and meticulously planning; Then, from the perspective of social performance, the paper discusses Huang Zhelun's new play Chinglish, focusing on the social performances of the three main characters in the play, and points out that the failure of social performance is due to the lack of cultural understanding. On the other hand, the gradual understanding of culture modifies and improves the social performance, thus preventing the further deterioration of the conflict. Finally, the author thinks: from the angle of behavior reconstruction, we can clearly see that the behavior of Gaurenni and Song Liling to reconstruct the image of Lady Butterfly has been uncoordinated from the beginning to the final climax. By analyzing the advantages and disadvantages of the social performances of the three main characters in Chinglish, we can get the basic knowledge and matters needing attention on how to "perform" a good role. Bridging the gap of communication and resolving the conflict of communication is the direction and practical significance of the development of social performance as a new subject.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：I712.073

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本文編號：1909824