中国戏曲的跨文化传播
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摘要
近年来,中国文化不断走出国门,在吸收外来优秀文化的同时,在对外宣传上也积极探传索播之路;尤其是在全球化进程不断加快,地球村概念不断深入的今天,中国文化在外宣面方的要求也不断提高。如今,中国功夫由于电影的传播已经在海外拥有自己的群体,儒家化文也随着孔子学院的发展而不断吸引着国外的受众。中国戏曲,相比之下,外宣之路走得不并顺畅,国外的观众没有机会,也缺乏相应的渠道来欣赏这种古典艺术之美。昆曲就是其极中具代表性的例子。在纷繁变化的现代社会,昆曲的生存与发展曾一度陷入困境,随着它评被为世界非物质文化遗产,昆曲研究才重新得到人们的重视。因此,为了让昆曲这一传统文化在现代社会中更好的生存下去,也为了让更多的国外友人能了解这一独特的中国艺术,曲昆正在经历着一场传播方式上的革命。那么,如何才能让昆曲得到恰当的海外传播?昆曲否是能够被改变?如何在现代语境下定义传统艺术?又由谁来决定昆曲的变革是成功抑或失败?这些问题是本次研究的兴趣所在。
本文研究采用案例分析作为质化研究的主要方法。以传播方式变革性突出的戏剧《马罗可》波为个案,针对其中以英语演唱昆曲的表演方式设计了三个层面的采访提纲;作者选取了23位符合本项研究条件的观众作为采访对象,对《马可波罗》中昆曲元素的跨文化传播效做果了一系列的度量分析。研究结果表明,《马可波罗》中昆曲元素的跨文化传播效果基本符合这一剧目创作者及传播者的意图;并证明此种融合的方式有助于昆曲早期的海外传播。访采中引发的重要讨论也使得研究内容得到了补充与扩展。
本研究的基本目的是为昆曲初期的跨文化传播探索可能的途径,着重于验证第三方文化立建的方式对于戏曲领域的跨文化传播是否可行及有效。在研究过程中,本文作者也发现了文跨化传播学科与昆曲艺术发展之间更多合作的可能性,希望本文的研究成果可以为昆曲今的后海外传播提供些许参考,同时也为跨文化传播这一学科的拓展提供新的视角。
China has been actively participating at the world stage during recent years. Culture,as a dynamic aspect of national image, is playing an essential role in presenting Chinato the world. Chinese cultural elements such as Kung Fu and Confucianism have beenwidely acknowledged by the West through the promotion of Chinese movies andConfucius Institutes. People get to know about China via these cultural elements andmutual understanding is built by means of intercultural communication. However, it isa pity to find out that in the field of Chinese traditional theatre, which is a rich sourcefor people to understand China, there is a big blank in terms of its overseascommunication. Few foreigners have the chances or channels to appreciate thisancient beauty of China. Kunqu is one typical representative. It has been strugglingfor survival in the constantly changing modern world for years; ever since Kunqu wasselected as the world's intangible cultural heritage, it is able to come back to people'slife and to bring about attentions and thoughts subsequently. In order to be known bymore people, Kunqu is now going through a reform as to better communicating itselfwith outside cultures, as well as with the modern culture. Nevertheless, what is thebest strategy of promoting intercultural communication of Kunqu? Is modern changesof Kunqu acceptable? How to define the identity of traditional art in a modern context?And who has the say to judge Kunqu reform a success or failure? These are thequestions this paper aims to explore.
This present research adopted the case study as the major strategy of qualitativeinquiry. 23 one-to-one interviews were conducted to explore the interculturalcommunication effects of Kunqu element in this particular opera "Marco Polo",namely three levels---cognitive, attitudinal, and behavioral effects. Preliminaryfindings revealed that what the audiences received from this play were generallyconsistent with the expectations of message deliverers; and the "third culture building"strategy was proved to be useful in the preliminary phase of Kunqu communicationoverseas. Interesting topics and follow-up discussions were generated throughinterviews, which further enriched the research findings. The primary aim of this research is to explore options for overseas communication ofKunqu at its primary phase, focusing on the possibility of "third culture building" inthe field of theatrical communication. The author is happy to discover plenty ofpossibilities of cooperation between intercultural communication and Kunqudevelopment as she carries on this research; hopefully this study will be of theoreticaland practical use to the development of Kunqu outside of China and will provide afresh perspective for the advancement of intercultural communication in China.
本文研究采用案例分析作为质化研究的主要方法。以传播方式变革性突出的戏剧《马罗可》波为个案,针对其中以英语演唱昆曲的表演方式设计了三个层面的采访提纲;作者选取了23位符合本项研究条件的观众作为采访对象,对《马可波罗》中昆曲元素的跨文化传播效做果了一系列的度量分析。研究结果表明,《马可波罗》中昆曲元素的跨文化传播效果基本符合这一剧目创作者及传播者的意图;并证明此种融合的方式有助于昆曲早期的海外传播。访采中引发的重要讨论也使得研究内容得到了补充与扩展。
本研究的基本目的是为昆曲初期的跨文化传播探索可能的途径,着重于验证第三方文化立建的方式对于戏曲领域的跨文化传播是否可行及有效。在研究过程中,本文作者也发现了文跨化传播学科与昆曲艺术发展之间更多合作的可能性,希望本文的研究成果可以为昆曲今的后海外传播提供些许参考,同时也为跨文化传播这一学科的拓展提供新的视角。
China has been actively participating at the world stage during recent years. Culture,as a dynamic aspect of national image, is playing an essential role in presenting Chinato the world. Chinese cultural elements such as Kung Fu and Confucianism have beenwidely acknowledged by the West through the promotion of Chinese movies andConfucius Institutes. People get to know about China via these cultural elements andmutual understanding is built by means of intercultural communication. However, it isa pity to find out that in the field of Chinese traditional theatre, which is a rich sourcefor people to understand China, there is a big blank in terms of its overseascommunication. Few foreigners have the chances or channels to appreciate thisancient beauty of China. Kunqu is one typical representative. It has been strugglingfor survival in the constantly changing modern world for years; ever since Kunqu wasselected as the world's intangible cultural heritage, it is able to come back to people'slife and to bring about attentions and thoughts subsequently. In order to be known bymore people, Kunqu is now going through a reform as to better communicating itselfwith outside cultures, as well as with the modern culture. Nevertheless, what is thebest strategy of promoting intercultural communication of Kunqu? Is modern changesof Kunqu acceptable? How to define the identity of traditional art in a modern context?And who has the say to judge Kunqu reform a success or failure? These are thequestions this paper aims to explore.
This present research adopted the case study as the major strategy of qualitativeinquiry. 23 one-to-one interviews were conducted to explore the interculturalcommunication effects of Kunqu element in this particular opera "Marco Polo",namely three levels---cognitive, attitudinal, and behavioral effects. Preliminaryfindings revealed that what the audiences received from this play were generallyconsistent with the expectations of message deliverers; and the "third culture building"strategy was proved to be useful in the preliminary phase of Kunqu communicationoverseas. Interesting topics and follow-up discussions were generated throughinterviews, which further enriched the research findings. The primary aim of this research is to explore options for overseas communication ofKunqu at its primary phase, focusing on the possibility of "third culture building" inthe field of theatrical communication. The author is happy to discover plenty ofpossibilities of cooperation between intercultural communication and Kunqudevelopment as she carries on this research; hopefully this study will be of theoreticaland practical use to the development of Kunqu outside of China and will provide afresh perspective for the advancement of intercultural communication in China.
引文
Casmir, F. L. (1978). A multicultural perspective of human communication. In Casmir,F. L. (Ed.), Intercultural and international communication (pp.241-257).Washington, DC: University Press of America.
Casmir, F. L. (1993). Third-culture-building: A paradigm-shift for international andintercultural communication. Communication Yearbook, 16, 407-428.
Chen, Y. R. & Chen A. Q. (2002).全球跨文化背景下中国传媒跨文化传播策略(The intercultural communication strategy of China's media in the globalizationbackground)．《中国记者》Chinese Journalist, 3, 20-21. (In Chinese)
Creswell, J. W. (2003). Research design (2nd ed). Thousand Oaks, CA: Sage.Publications, Inc.
Denzin, N. K. & Lincoln, Y. S. (Ed.) (1998). The landscape of qualitative research---theories and issues. Thousand Oaks, CA: Sage Publications, Inc.
Dodd., C. H. (2006). Dynamics of intercultural communication(5th ed.). Shanghai:Shanghai Foreign Language Education Press.
Duan L. C.(2004).对外传播学初探(Probes into external communication). Beijing:五洲出版社Five Continent Communication Press. (In Chinese)
Fu, J. (2002).新中国戏剧史(History of theatre in new China). Hunan:湖南美术出版社Hunan Art Press. (In Chinese)
Gilgun, J. F. (1994). A case for case studies in social work research. Social Work, 39,371-380.
Gu, J. Z. (2008). Theorizing about intercultural communication: Dynamic semiotic andmemetic approaches to intercultural communication.《中国媒体研究》ChinaMedia Research, 4 (2), 86~88.
Gudykunst, W. B., & Kim, Y. Y. (1984) Methods for intercultural communication.Thousand Oaks, CA: Sage Publication, Inc.
Guo, K. (2004).国际传播学导论(Introduction to international communication).Shanghai:复旦大学出版社Fudan University Press. (In Chinese)
Guo, Q. G. (1999).传播学教程(A tutorial for communication). (pp. 187-208)Beijing:中国人民大学出版社Renmin University Press. (In Chinese)
Hamel, J. (1992). The case method in sociology. Current Sociology, Vol. 40. 99-120.
Hang, H. (2008).美丽的古典与青春的现代---谈白先勇青春版《牡丹亭》及其现代性(Beautiful traditions and youthful modernity---An analysis of themodernity in the youthful version of“The Peony Pavilion”).《世界华文文学论坛》International Forum of Chinese Literature, 2, 50~52. (In Chinese)
He, X. J. (2005).关于非物质文化遗产保护的理论思考(A thought on the theory ofintangible cultural heritage safeguarding).《江西社会科学》Jiang Xi SocialScience, 2, 103~109. (In Chinese)
Hobsbawm, E., & Ranger, T. (1992). The invention of tradition. London: CambridgeUniversity Press.
Hu, Z. R.(1994).传播学总论(General discussion on communication)．Beijing:北京广播学院出版社Beijing Broadcasting Institute Press. (In Chinese)
Inglehart, R. (1997). Modernization and postmodernization: Cultural, economic, andpolitical change in 43 societies. Princeton, N.J.: Princeton University Press.
Inglehart, R., & Baker, W. E. (2000). Modernization, cultural change, and thepersistence of traditional values. American Sociological Review, 65, 19-51.
Jiang, C., & Wang, H.-H. (2008).浅析符号在传统文化和后现代文化中的区别—以戏剧文本由传统走向现代说起(A preliminary analysis of the semioticdifferences between traditional culture and post-modern culture---transitions ofdramatic texts from tradition to modernity).《安徽文艺》Anhui Literature andArt, 9, 96-97.
Katz, E., & Lazarsfeld, P. (2005). Personal influence: The part played by people in theflow of mass communications. Piscataway, NJ: Transaction Publishers.
Kim, Y. Y. (1977). Communication patterns of foreign immigrants in the process ofacculturation. Human Communication Research, 2, 127-224.
Klapper, J. T. (1960). The effects of mass communication. Washington: Free Press.
Lasswell, H. D.(1948). The structure and function of communication in society. InBryson, Lyman (Ed.), The Communication of Ideas (pp. 37-51). New York:Institute for Religious and Social Studies.Lazarsfeld, P. F. (1988). The people's choice. (3rd ed.). New York: ColumbiaUniversity Press.Leeuwen,T.V. (2005). Introducing social semiotics. New York: Routledge.Lin, Y., & Ma, X. (2009).中国戏曲的跨文化传播(Intercultural communication ofChinese opera) Beijing:中国传媒大学出版社Communication University ofChina Press. (In Chinese)Liu, S.D. (2008).从昆曲的成功传播看中国精神文化遗产的传承---非物质文化遗产传承中的媒介力量(Inheritance of intangible cultural heritages through thesuccessful intercultural communication of Kunqu).《文化研究》Cultural Studies,10, 229. (In Chinese)Lv, X. P. (2006).戏剧学研究导引(An introduction to Theatre Studies). Nanjing:南京大学出版社Nanjing University Press. (In Chinese)Ma, M. (1988)论张彭春与梅兰芳的合作及其影响(On the influence of
cooperation between Zhang Pengchun and Mei Lanfang).《戏剧艺术》TheatricalArt, 3, 37. (In Chinese)
Marshall, C., & Rossman, G. B. (1999). Designing qualitative research. (3rd ed.).Thousand Oaks. CA: Sage.
Merriam, S. B. (1998). Qualitative research and case study applications in education.San Francisco: Jossey-Bass.
Miles, M. M., & Hubermann, A. M. (1994) Qualitative Data Analysis: An ExpandedSourcebook. Thousand Oaks, CA: Sage.
Miller, D. C. (1983). Handbook of research design and social measurement, (4th ed.)Newbury Park,CA: Sage.
Noelle-Neumann, E. (1973). Return to the concept of powerful mass media. Studies ofbroadcasting, 9, 67-112.
Ortolani, B. (1976). Fukuda Tsuneari: Modernization and Shingeki. In Tradition andModernization in Japanese culture. Edited by Donoald H. Shively. New Jersey:Princeton University Press. 463-499.
Philipsen, G. (2000). Permission to speak the discourse of difference: A case study.Research on Language and Social Interaction, 33(2), 213-234.Rubin, R. B., Rubin, A. M., & Piele L. J. (2005) Communication research : strategiesand sources. Belmont, CA: Thompson Wadsworth Publishers.Schramm, W. (1963). The science of human communication. (pp. 8) New York: BasicBooks.Severin J. W. & Tankard W. J, (2000). Communication theories: Origins, methods anduses in the mass media. (5th ed.) Boston: Addison Wesley Longman, Inc.Strauss, A. & Corbin, J. (1998). Basics of qualitative research techniques andprocedures for developing grounded theory. (2nd ed.) Thousand Oaks, CA: SagePublications, Inc.
Sun, M. (2006).中国戏曲跨文化研究(An intercultural research on Chinese opera).Beijing:中华书局Zhonghua Book Company. (In Chinese)
Weiss, R. S. (1994). Learning from strangers : the art and method of qualitativeinterview studies. New York: The Free Press.
Xing, J. (2005).青春版《牡丹亭》对当代戏曲生存与发展的启示(Inspirations ofthe youthful version of“The Peony Pavilion”for the survival and development ofcontemporary operas).《剧坛综论》Opera Review, 37~41. (In Chinese)
Yin, R. K. (2003). Case study research: design and methods. (pp. 21-33). London:Sage Publications.
Young, S. (1930). Performance of Mei Lanfang and his troupe. New Republic,3, 12.
Zhang, L. J. (2005).拯救昆曲，从《牡丹亭》开始(Rescue Kun Qu, starts from“ThePeony Pavilion”).《中国新闻人物月刊》Mensual of Chinese Newmaker, 3,39~41. (In Chinese)
Zheng, P. K. (2008).昆曲青春化与商品化的困境(The dilemma encountered withthe modernization and commercialization of Kun Qu).《书城》Book Town, 5,12~17. (In Chinese)
Casmir, F. L. (1993). Third-culture-building: A paradigm-shift for international andintercultural communication. Communication Yearbook, 16, 407-428.
Chen, Y. R. & Chen A. Q. (2002).全球跨文化背景下中国传媒跨文化传播策略(The intercultural communication strategy of China's media in the globalizationbackground)．《中国记者》Chinese Journalist, 3, 20-21. (In Chinese)
Creswell, J. W. (2003). Research design (2nd ed). Thousand Oaks, CA: Sage.Publications, Inc.
Denzin, N. K. & Lincoln, Y. S. (Ed.) (1998). The landscape of qualitative research---theories and issues. Thousand Oaks, CA: Sage Publications, Inc.
Dodd., C. H. (2006). Dynamics of intercultural communication(5th ed.). Shanghai:Shanghai Foreign Language Education Press.
Duan L. C.(2004).对外传播学初探(Probes into external communication). Beijing:五洲出版社Five Continent Communication Press. (In Chinese)
Fu, J. (2002).新中国戏剧史(History of theatre in new China). Hunan:湖南美术出版社Hunan Art Press. (In Chinese)
Gilgun, J. F. (1994). A case for case studies in social work research. Social Work, 39,371-380.
Gu, J. Z. (2008). Theorizing about intercultural communication: Dynamic semiotic andmemetic approaches to intercultural communication.《中国媒体研究》ChinaMedia Research, 4 (2), 86~88.
Gudykunst, W. B., & Kim, Y. Y. (1984) Methods for intercultural communication.Thousand Oaks, CA: Sage Publication, Inc.
Guo, K. (2004).国际传播学导论(Introduction to international communication).Shanghai:复旦大学出版社Fudan University Press. (In Chinese)
Guo, Q. G. (1999).传播学教程(A tutorial for communication). (pp. 187-208)Beijing:中国人民大学出版社Renmin University Press. (In Chinese)
Hamel, J. (1992). The case method in sociology. Current Sociology, Vol. 40. 99-120.
Hang, H. (2008).美丽的古典与青春的现代---谈白先勇青春版《牡丹亭》及其现代性(Beautiful traditions and youthful modernity---An analysis of themodernity in the youthful version of“The Peony Pavilion”).《世界华文文学论坛》International Forum of Chinese Literature, 2, 50~52. (In Chinese)
He, X. J. (2005).关于非物质文化遗产保护的理论思考(A thought on the theory ofintangible cultural heritage safeguarding).《江西社会科学》Jiang Xi SocialScience, 2, 103~109. (In Chinese)
Hobsbawm, E., & Ranger, T. (1992). The invention of tradition. London: CambridgeUniversity Press.
Hu, Z. R.(1994).传播学总论(General discussion on communication)．Beijing:北京广播学院出版社Beijing Broadcasting Institute Press. (In Chinese)
Inglehart, R. (1997). Modernization and postmodernization: Cultural, economic, andpolitical change in 43 societies. Princeton, N.J.: Princeton University Press.
Inglehart, R., & Baker, W. E. (2000). Modernization, cultural change, and thepersistence of traditional values. American Sociological Review, 65, 19-51.
Jiang, C., & Wang, H.-H. (2008).浅析符号在传统文化和后现代文化中的区别—以戏剧文本由传统走向现代说起(A preliminary analysis of the semioticdifferences between traditional culture and post-modern culture---transitions ofdramatic texts from tradition to modernity).《安徽文艺》Anhui Literature andArt, 9, 96-97.
Katz, E., & Lazarsfeld, P. (2005). Personal influence: The part played by people in theflow of mass communications. Piscataway, NJ: Transaction Publishers.
Kim, Y. Y. (1977). Communication patterns of foreign immigrants in the process ofacculturation. Human Communication Research, 2, 127-224.
Klapper, J. T. (1960). The effects of mass communication. Washington: Free Press.
Lasswell, H. D.(1948). The structure and function of communication in society. InBryson, Lyman (Ed.), The Communication of Ideas (pp. 37-51). New York:Institute for Religious and Social Studies.Lazarsfeld, P. F. (1988). The people's choice. (3rd ed.). New York: ColumbiaUniversity Press.Leeuwen,T.V. (2005). Introducing social semiotics. New York: Routledge.Lin, Y., & Ma, X. (2009).中国戏曲的跨文化传播(Intercultural communication ofChinese opera) Beijing:中国传媒大学出版社Communication University ofChina Press. (In Chinese)Liu, S.D. (2008).从昆曲的成功传播看中国精神文化遗产的传承---非物质文化遗产传承中的媒介力量(Inheritance of intangible cultural heritages through thesuccessful intercultural communication of Kunqu).《文化研究》Cultural Studies,10, 229. (In Chinese)Lv, X. P. (2006).戏剧学研究导引(An introduction to Theatre Studies). Nanjing:南京大学出版社Nanjing University Press. (In Chinese)Ma, M. (1988)论张彭春与梅兰芳的合作及其影响(On the influence of
cooperation between Zhang Pengchun and Mei Lanfang).《戏剧艺术》TheatricalArt, 3, 37. (In Chinese)
Marshall, C., & Rossman, G. B. (1999). Designing qualitative research. (3rd ed.).Thousand Oaks. CA: Sage.
Merriam, S. B. (1998). Qualitative research and case study applications in education.San Francisco: Jossey-Bass.
Miles, M. M., & Hubermann, A. M. (1994) Qualitative Data Analysis: An ExpandedSourcebook. Thousand Oaks, CA: Sage.
Miller, D. C. (1983). Handbook of research design and social measurement, (4th ed.)Newbury Park,CA: Sage.
Noelle-Neumann, E. (1973). Return to the concept of powerful mass media. Studies ofbroadcasting, 9, 67-112.
Ortolani, B. (1976). Fukuda Tsuneari: Modernization and Shingeki. In Tradition andModernization in Japanese culture. Edited by Donoald H. Shively. New Jersey:Princeton University Press. 463-499.
Philipsen, G. (2000). Permission to speak the discourse of difference: A case study.Research on Language and Social Interaction, 33(2), 213-234.Rubin, R. B., Rubin, A. M., & Piele L. J. (2005) Communication research : strategiesand sources. Belmont, CA: Thompson Wadsworth Publishers.Schramm, W. (1963). The science of human communication. (pp. 8) New York: BasicBooks.Severin J. W. & Tankard W. J, (2000). Communication theories: Origins, methods anduses in the mass media. (5th ed.) Boston: Addison Wesley Longman, Inc.Strauss, A. & Corbin, J. (1998). Basics of qualitative research techniques andprocedures for developing grounded theory. (2nd ed.) Thousand Oaks, CA: SagePublications, Inc.
Sun, M. (2006).中国戏曲跨文化研究(An intercultural research on Chinese opera).Beijing:中华书局Zhonghua Book Company. (In Chinese)
Weiss, R. S. (1994). Learning from strangers : the art and method of qualitativeinterview studies. New York: The Free Press.
Xing, J. (2005).青春版《牡丹亭》对当代戏曲生存与发展的启示(Inspirations ofthe youthful version of“The Peony Pavilion”for the survival and development ofcontemporary operas).《剧坛综论》Opera Review, 37~41. (In Chinese)
Yin, R. K. (2003). Case study research: design and methods. (pp. 21-33). London:Sage Publications.
Young, S. (1930). Performance of Mei Lanfang and his troupe. New Republic,3, 12.
Zhang, L. J. (2005).拯救昆曲，从《牡丹亭》开始(Rescue Kun Qu, starts from“ThePeony Pavilion”).《中国新闻人物月刊》Mensual of Chinese Newmaker, 3,39~41. (In Chinese)
Zheng, P. K. (2008).昆曲青春化与商品化的困境(The dilemma encountered withthe modernization and commercialization of Kun Qu).《书城》Book Town, 5,12~17. (In Chinese)