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中国的传统昆曲《牡丹亭》先后有三个版本在欧美上演,其中两个是失败的,只有白先勇先生的青春版《牡丹亭》取得了巨大的成功,成为跨文化交际的典范。从符号学角度来研究,同一层次的符号系统具有的排斥性,决定了调适必须把握一定的度,既不能过度也不能不足。青春版《牡丹亭》正是很好地把握了调适的度,一方面很好地保留了昆曲的文化传统,另一方面又能为西方观众所接受。
There are three versions of the traditional Chinese opera “Peony Pavilion” staged in Europe and the United States. Two of them are unsuccessful. Only the successful version of Peony Pavilion by Mr. Bai Xianyong has achieved great success and become a model of intercultural communication. From the perspective of semiotics, the exclusiveness of the symbol system at the same level determines that the adjustment must take a certain degree, neither over nor under. Youth version of “Peony Pavilion” is a good grasp of the degree of adaptation, on the one hand well preserved the cultural tradition of Kunqu Opera, on the other hand can be accepted by Western audiences.