摘要
感情和欲望不是对客观认知的污染①,而是更接近人类本性。通过参与谢克纳的暑期研讨班,"探讨仪式与戏剧表演之间的接合点……社会剧与美学剧之间的接合点",以及社会科学与表演艺术之间的阈限,以恩丹布社会为例,讨论了人类学家所描述的社会冲突的过程形式与文化表演类型之间的关系。人类学学者与戏剧人之间不仅能合作,而且这种合作可以成为双方的一个主要教学工具。"表演"就是完成一个或多或少有些复杂难懂的过程。美学演剧就包括各种社会剧的过程形式。社会剧的产生导致一种"危机"状态,它只有通过一系列的仪式化行为来得以矫正。这种合作涉及民族志、剧本和表演之间的相互转化。从民族志到表演的转移是一种务实的自反性②过程。表演的人类学应该满足那些正要从人类学这里寻求理论支持的戏剧表演者。新的重点是,把社会作为一个被各种表演圈圈点点的过程。
Feelings and desires are not pollution of cognitive pure essence,but close to what we humanly are.Through taking part in the workshop to 'explore the interface between ritual and the theatre…between social and aesthetic drama,' and other limina between the social sciences and performing arts,the author,with the case study on Ndembu village life,discusses the relationship between the processual form of social conflict described by some anthropologists and genres of cultural performance.The cooperation between anthropological and theatrical people was not only possible but also could become a major teaching tool for both sets of partners.To perform is to complete a more or less involved process rather than to do a single deed or act.The processual form of social dramas is implicit in aesthetic drama.Social drama's occurrence leads to a state of crisis which can be redressed by a series of ritual behaviors.The above mentioned cooperation involves an inter-transformation between ethnography,script and performance.The movement from ethnography to performance is a process of pragmatic reflexivity.Anthropology of performance should meet dramatic performers who are seeking some of their theoretical support from anthropology.The renewed emphasis is to regard society as a process punctuated by performances of various kinds.
出处
《文化遗产》
2009年第4期36-44,157,共10页
Cultural Heritage
