论中国荒诞喜剧形态

由模仿开始的中国荒诞戏剧在经历了20年的吸纳、误读之后,最终形成了带有中国特色的荒诞喜剧。中国荒诞喜剧的生存形态主要有搬演型、解构型、组装型、原创型等四种。其形态特征主要包括闹剧式的舞台呈现、隐晦深刻的思想表达模式、反讽的美学构成、喜剧的终极效果等四个方面。     

Adelina Anthony Interview with Aimee Carrillo Rowe

ABSTRACT

This interview explores how performing artist, activist, writer, director, performer Adelina Anthony stages queer women of color affects as a complex terrain to mobilize a decolonial imaginary. Anthony's characters are complex, contradictory, surly, and resilient with whom audience members connect and feel deeply. Especially for queer women of color, who rarely get to see their own experiences on film or on stage, Anthony's work provides a critical forum for discussing, imagining, naming, and envisioning the connections between our personal struggles and broader forces of imperialism, heterosexual capitalism, and settler colonialism. Through the “medicina” of gritty truth-telling and side-splitting laughter, Anthony discusses her own positionality as a coyote curandera. Through the exploratory genre of the interview, Anthony helps readers palpably engage a queer woman of color “theory in the flesh” to imagine their own creative potentialities through a compassionate lens of humility and humor.     

试论中国城市文化的开始

在宋金缓慢积聚的基础上,元代城市发展有了突变。大型勾栏是城市标志性建筑,辉煌的元杂剧是城市大众共同的审美对象,最出色的杂剧作家和杂剧演员是城市文化名人。三大条件皆备,宣告中国城市文化的开始。     

A contested terrain: immigrants and their descendants in Viennese culture

Culture in Vienna has become more diverse with successive waves of immigration since the 1960s, but Austrian cultural policies have been slow in picking up this trend. While the federal state has been focusing on maintaining traditional cultural institutions in Vienna such as the Staatsoper, the Burgtheater and the Kunsthistorisches Museum, the city of Vienna has pushed integration and later diversity in cultural policies since the 1990s, albeit more in discourse than in actual funding. Artists of immigrant origin harshly criticise this dire situation: they claim the place which they have not yet been granted, not only in cultural policies, but also in society.     

洪深及中国现代戏剧导演制的建立

洪深是中国现代戏剧史上的第一个导演。他从美国留学回国后，首先通过上海戏剧协社，在话剧导演实践中使导演制得以确立，并且通过导演电影、残剧教育和积极参与其它戏剧活动，使导演制在中国现代戏剧史上产生广泛而深远的影响。     

Inside the Museum: Curating between hope and despair: POLIN Museum of the History of Polish Jews

The reception of the core exception of POLIN Museum of the History of Polish Jews, which opened in Warsaw on 28 October 2014, is the focus of this essay. While eschewing a master narrative, the exhibition is guided by metahistorical principles and a distinctive approach to mode of narration. Both have proven controversial as evidenced by answers to the following questions. What is the difference between a history of Polish Jews and a history of Polish Jewish relations? What is the most important period in the history of Polish Jews? Can visitors be trusted to draw the proper conclusions from a multi-voiced narrative based largely on quotations from primary sources, supported with scholarly commentary? Is a museum whose core exhibition features relatively few original objects a museum? What is the role of intangible heritage in such a museum?     

Are polish theatres autonomous? Artistic institutions in a bureaucratic system of culture funding

The culture funding systems based on the arm's length mechanism are generally believed to secure more autonomy of artistic institutions than ‘bureaucratic’ systems which directly involve politicians or public servants in the allocation of public funds. There is a wide range of academic literature that defend this approach. The aim of this paper is to readdress this view and show that it stems from typology-based preconceptions rather than real-life policy-making. To this end, the article analyses relations between public theatres and local funding bodies in Poland, where culture funding system is characterised by a bureaucratic decision-making. Mixed methods were applied using questionnaires and focus groups with public servants and theatre directors. The paper suggests that, although Polish local governments play a dominant role in the arts funding, their intervention in the area of culture has merely administrative nature and, in general, does not entail interference in the artistic activity.     

雅俗之变的重要个案——花雅之争透析

花雅之争是戏曲史上长期关注的一个话题，论文以禁戏为切入点，对花雅之争重新探讨。和前人统而论之有所不同，主要从清廷、地方文人士大夫、地方行政人员、普通民众几个不同的接受群体分开来谈。将花雅之争放在清朝文字狱的大背景下，着力指出各接受群体在花雅之争的过程中所发挥的不同作用，尤其是清廷和地方政府在禁戏方面的相同和相异之处，并且尝试对民众的文化欣赏水平做出定位。以期在分析花雅之争这个雅俗之变个案的同时，对文学发展中的主客观因素、偶然因素和必然因素有进一步的认识。     

以开放的心态从事中国戏剧史研究

开放的时代需要开放的心态。首先,学术史上不存在壁垒森严、固定不变的学科界限,中国戏剧史更毋需划地为牢,学者本人亟需挣脱学科归属的羁绊,保持自信;其次,在“全球化”浪潮汹涌澎湃的大背景下,中国戏剧史的研究依然相当封闭,学者们外语水平普遍不高。其症结在于学者太以自己为中心,未能把中国戏剧史当成一门不分国界的学问。     

Spivak,in other words

The publication of texts by Chicana feminists in the 1980s offered an alternative mapping of feminist literary cartographies and subject positions. This article examines the work of contemporary Chicana writer, Sandra Cisneros, whose literary text enacts a practice of Chicana feminism that engages with a transnational, transfronteriza practice of feminismo popular, which literally translates as ‘popular feminism’. This type of border feminism articulates a feminist materialist aesthetics that enables us to re-examine an emergent formation of feminism on the border, a formation characterized by specific types of movements of Mexican women across geopolitical boundaries and borders. The complex movements of this transnational Chicana feminism are announced in the story ‘Woman Hollering Creek’, which complicates the binarisms of the metropolitan opposed to the rural, the core and periphery, and militates against a reductionist opposition of First World versus Third World. I argue that armed with a transfrontera feminism, the protagonist Cleofilas and her peers can resist the power of a transnational media. This story changes the subject of dominant, patriarchal discourse and lets readers imagine how Chicana transfrontera feminism and Mexican feminismo popular can converge in other spaces and under other circumstances to produce socially nuanced global Chicana Mexicana coalitions.