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中国戏曲作为一种古老的艺术种类,已经成为世界戏剧文化的重要组成部分。在历史上的多次大规模中西方文化交流过程中,中国戏曲往往充当着桥梁的角色,其东方化的表现方式和多种多样的艺术表现手法能够担任起介绍中国传统文化的作用。但是,在早期东西方社会发展不均衡的前提之下,当中国传统戏曲进入到西方文化的视野中时,西方文化社会往往并不能站在一种平等的视角上对其进行研究和解读,基于这种视角,在历次中国传统戏曲大规模向西方传播的过程中,或多或少都被西方一些学者和剧评家进行了误读或者曲解,这点从元杂剧《赵氏孤儿》在欧洲的传播和变形可见一斑,研究《赵氏孤儿》在欧洲的传播及误读方式的原因有益于中国传统戏曲在跨文化传播方面的探索和尝试,促进文化交流,将中国传统戏曲进一步的推向世界。
As an ancient art genre, Chinese opera has become an important part of the world drama culture. During many large-scale cultural exchanges between China and Western countries in the history, Chinese opera often takes the role of a bridge. Its orientalized expression methods and various artistic expressions can play the role of introducing Chinese traditional culture. However, under the precondition that the development of East-West society was not balanced at the early stage, when Chinese traditional opera entered the western culture’s perspective, western cultural society often could not study and interpret it from an equal perspective. This perspective has been misinterpreted or misinterpreted by some Western scholars and critics during the large-scale spread of Chinese traditional opera to the West. This is the case from the Yuan drama “Orphan” in Europe The reason why the dissemination and misreading of Zhao’s orphans in Europe is beneficial to the exploration and attempt of Chinese traditional opera in cross-cultural communication, promotion of cultural exchange and further promotion of traditional Chinese opera world.