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佐尔坦·伊姆雷探讨了“民族国家剧院”概念的主要变化,从1767年汉堡剧院的早期辩论起,止于2006年苏格兰“民族国家剧院”开业。在18和19世纪,多数西欧国家都把“民族国家剧院”看做促进国家甚至是帝国一体化的手段,但在东欧,有关“民族国家剧院”的辩论以及后来“民族国家剧院”的创建,却常常发生在帝国主义压迫、统治和反抗帝国主义的语境中。“民族国家剧院”的实现都以虚拟的方式表述了统一的民族国家,其角色则是要保持单一、固定的民族国家认同以及同种的、占支配地位的民族国家文化。而在当今的苏格兰,民族国家的概念已再次发生变化——它要服务于多样化、多文化的苏格兰。
Zoltan Imre explores the major changes in the concept of the National Theater, beginning in the early debates of the Hamburg Theater in 1767 and ending in 2006 at the National Theater of the Nation. In the 18th and 19th centuries, most western European countries regarded the “National Theater of Nations” as a means of promoting the integration of even the empire of the country. However, in Eastern Europe, the debate about the “National Theater” and later the “nation- Theater ”often occurs in the context of imperialist oppression, rule and opposition to imperialism. The realization of “National Theater of Nationalities” virtually states a unified nation state. Its role is to maintain a single, fixed national identity and the same dominant national culture. In today’s state of Scotland, the concept of a nation-state has changed again - it serves a diverse and multicultural Scotland.