摘要
世界戏剧大师谢克纳与印度文化和中国文化的关系已经走过了近半个世纪的历程。本文将以谢克纳的实践探索和理论研究为基础,以跨文化为视角,重点探讨谢克纳对印度文化和中国文化的思考、探索、演绎和争议及其相应的重要成果。谢克纳早在1971年就实地考察过印度的戏剧文化。76年他又带着他导演的作品《大胆妈妈与她的孩子们》到印度六个城市和乡村巡演。1983年谢克纳再次来到印度,用印度斯坦语导演了《樱桃园》。在相应以及随后的研究中,谢克纳一直在研究印度的表演思想,并进行跨文化的比较。谢克纳对于中国的戏剧领域也不是一个陌生的名字。他到中国的北京、上海和台湾等地进行过演讲,接受过重要媒体的采访,还导演过三个作品,《明日就要出山》、《奥瑞斯提亚》和《哈姆雷特》。他既对希腊作品进行过中国移植,也曾把英国作品移向中国,与中国戏剧文化进行嫁接,同时他还对中国的原创作品《明日就要出山》进行过环境戏剧的融合,由此还在演出地的上海引发过一场前所未有的跨文化环境戏剧大讨论。就表演理论来说,他关注的大多是印度和中国的戏剧文化现象,并对其进行相应的理论探讨。本文以历史发展的前后脉络,根据谢克纳的先国内后国外的戏剧活动和戏剧理论研究的基本线索,将谢克纳的跨文化研究分为两个部分——实践部分和理论部分。实践部分将中国与印度分开论述,以时间先后划分,先印度后中国。理论部分不分开,但基本也遵循先印度后中国的方式。本文第一章为总论,重点展示了该文研究的基本思路和论文简介、文化定位、研究现状及谢克纳进行跨文化活动和研究的历史背景。第二章主要探讨了谢克纳在印度的跨文化活动,如,谢克纳首次亚洲跨文化之旅的兴奋与尴尬。这是谢克纳跨文化活动和研究的启始。1976年谢克纳与《大胆妈妈与她的孩子们》的印度巡演。这是谢克纳跨越国门的首度巡演,并产生了重要影响。1983年谢克纳到印度导演《樱桃园》。这次是使用印地语导演的,为以后的跨文化导演开了使用当地语言导演的先河,很有重要意义。而且他还注重将印度文化与英国文化进行有效的结合。不过在去印度之前,谢克纳在美国改编了《酒神的伴侣》,并将它以《69年的狄奥尼索斯》面世而一举成名。然而,这个作品最大的特点在于它与东方文化的结合,以及谢克纳在没有走出美国国门的情况下而取得的跨文化的重大收获。第三章重点探讨了谢克纳在中国上海和台湾的导演活动,如,1989年《明日就要出山》与环境戏剧的跨文化大讨论。1995年京剧版的《奥瑞斯提亚》与跨文化的融合与冲突。谢克纳在台湾导演《奥瑞斯提亚》时首次使用了京剧文化来构筑这个西方作品。2007年谢克纳再度来上海导演了《哈姆雷特》。他的跨文化视角及象征性手法曾引起轰动。谢克纳在中国传播他的人类表演学已有十多年的历程。这十多年中无不表现为跨文化特征。前期谢克纳影响中国,现在中国影响谢克纳。第四章专门探讨谢克纳的跨文化理论,诸如,印度火坛祭、查乌面具舞和婆罗多舞为行为重建,谢克纳对印度卡塔卡利表演训练与跨文化的浪漫化、理想化思考,跨文化表演的三种关系,谢克纳与巴鲁查的跨文化冲突,贵州地戏及其未来发展方向。第五章为结论部分,全面总结本文所探讨和研究的內容以及谢克纳跨文化融合思想的重要特点。纵观谢克纳半个多世纪的戏剧人生,无疑,他大多是跨文化的,它大多也是跨文化的。因为谢克纳认为,文化本身就是一个不断重建的过程,表演文化也是如此。因此,无论谢克纳走到哪里,就将哪里的文化因子撒向他的作品里,他在哪里就产生重要成果。然而大多时候,哪里就有谢克纳可能不愿看到的,诸如反对、攻击或不认可等现象发生。这就是我们的谢克纳,我们看到的跨文化的谢克纳。
Richard Schechner has had relationship with Indian and Chinese Cultures for nearly half a century. This dissertation mainly focuses on Richard Schechner’s thinking, exploration, deduction and direction, and controversy or conflicts concerning or concerned with Indian and Chinese Cultures and explores them interculturally on the basis of his theories and practices mostly established or experienced in or about India and China. Richard Schechner is well known in the field of Indian Theatre. As early as 1971, he has been to India and explored Indian Theatre. In 1976, he toured his production, Mother Courage and Her Children in 6 cities of India. In 1983, Schechner went back to India and directed The Cherry Orchard in Hindustani language. In the succedent and corresponding researches, Schechner has been studying Indian performance theory, and making intercultural comparisons. Meanwhile, Schechner is also well known in the field of Chinese Theatre. He has given lectures in Beijing, Shanghai and Taiwan, and directed such works as Out of Mountains Tomorrow,Oresteia,and Hamlet, among which two are from Greece and Britain to China. Meanwhile, he has combined Out of Mountains Tomorrow with environmental theatre, which has aroused a passionate discussion in Shanghai, where Out of Mountains Tomorrow was put on stage. From the aspect of performance theory, what he concerns most is the cultural phenomena in India and China, which are deeply explored by him. This dissertation, according to the diachronic order and the clues of Schechner’s dramatic practices home and abroad, will study Schechner’s interculturalism from two aspects: practice and theory. The practice part discusses that of China and India respectively. Diachronically, India is discussed first, and then China. The discussion of theory part follows the same order. Chapter 1 is a general introduction, which tells the basic train of thought in research, the cultural allocation, the present research situation and the background of Schechner’s intercultural practice. Chapter 2 mainly discusses the intercultural activities of Schechner in India, for example, the excitement and embarrassment in Schechner’s first visit to India. This is the origin of his intercultural practice away from U.S.A.. In 1976, Schechner toured his Mother Courage and Her Children in India. This was the first time that Schechner put on performance abroad, which produced great influence. In 1983, Schechner directed The Cherry Orchard in Hindustani Language, which is of great significance for adopting local language in directing dramatic works for the first time. Meanwhile, he emphasizes the combination of Indian and English cultures. Before his visit to India, Schechner adapted The Bacchae in America with the new title of Dionysus in 69’and became famous overnight. However, the significance of this work lies in its combination with the oriental culture, and the acquisition of intercultural practice before going abroad. Chapter 3 mainly discusses the activities of Schechner as a director in Shanghai and Taiwan, for example, the discussion of Out of MountainsTomorrow and environmental theatre in 1989; the fusion and the conflicts between Oresteia and interculture; and Schechner’s adoption of Beijing opera in constructing the Oresteia. In 2007, Schechner came to Shanghai again with his Hamlet. The optical angle of interculture and symbolic techniques used to drop a bomb in Shanghai. Schechner has propagated his Performance Studies in China which also displayed its intercultural features here for more than 10 years. Previously, it was Schechner who affected Chinese Performance Studies, but now, it is Chinese Performance Studies that affects Schechner. Chapter 4 mainly discusses the intercultural theories of Schechner. For example, the restorations of Indian Altar of Fires , Chhau and Bharatanatyam;the romanticized and idealized thinking on kathakali performance; the three relationships of intercultural performance; the intercultural conflicts between Schechner and Bharucha;Dixi——the local performance of Guizhou and its further development in the future. Chapter 5 is the conclusion part, which roundly concludes the Schechner’s main intercultural theories and main intercultural practices studied in this dissertation. Looking back on Schechner’s dramatic pursuit for more than half century, it is definitely believed that in most of his life time he is intercultural, and so is most of his thought. Richard Schechner thinks that culture itself is a result of continous restoration. So is the performance culture. So, wherever he goes, he would fuse or mix his works with the local cultures and make great achievements simultaneously. But most of the time, his works would probably be opposed, attacked or unrecognized by some scholars just for the sake of his fusing or mixing. This is our Richard Schechner, our intercultural Richard Schechner.
引文
1 Bonnie Marranca and Gautam Dasgupta: Interculturalism and Performance, PAJ Publications, New York,1991, p.11
2曹路生,《国外后现代戏剧》,江苏美术出版社,p.147-153.
3 Richard Schechner, A Reply to Rustom Bharucha Asian Theatre Journal. ,Vol.1.No.2. Autumn,1984。p.252
4 Richard Schechner, An Intercultural Primer,p.31.转述自"Containment Is The Enemy": an ideography of Richard Schechner,p.223.
5孙惠柱,《谁的蝴蝶夫人——戏剧冲突和文明冲突》,商务印书馆,2006年9月,p.13
6孙惠柱,《谁的蝴蝶夫人——戏剧冲突和文明冲突》,商务印书馆,2006年9月,p.13
7孙惠柱,《谁的蝴蝶夫人——戏剧冲突和文明冲突》,商务印书馆,2006年9月,p.14
8孙惠柱,《谁的蝴蝶夫人——戏剧冲突和文明冲突》,商务印书馆,p.14.
9孙惠柱,《谁的蝴蝶夫人——戏剧冲突和文明冲突》,商务印书馆,p.13
10 Bonnie Marranca and Gautam Dasgupta: Interculturalism and Performance, PAJ Publications, New York,1991 , P.308
11 Geeti Sen,Schechner Ka Cherry Ka Baghicha, Span June 1983
12 Richard Schechner, A Reply to Rustom Bharucha.Asian Theatre Journal. ,Vol.1.No.2., Autumn,1984。p.249
13 Geeti Sen,Schechner Ka Cherry Ka Baghicha, Span June 1983, p.3
14孙惠柱,《第四堵墙——戏剧的结构与结构》,上海书店出版社,2006年8月p.154
15孙惠柱,《谁的蝴蝶夫人——戏剧冲突与文明冲突》,商务印书馆,2006年9月.p.7-8
16耶日?格罗托夫斯基,《迈向质朴戏剧》,魏时译,中国戏剧出版社1984年版. p.194
17 Clive Barnes: Theater :Development of the Environmental Experience and Audience Involvement of‘Dionysus in 69’, The New York Times,TL,Tuesday ,November 19,1968
18理查德·谢克纳原著,《环境戏剧》,曹路生译,中国戏剧出版社2001年5月第一版。p.79.
19孙惠柱,《谁的蝴蝶夫人——戏剧冲突与文明冲突》,商务印书馆,2006年9月.p.59
20耶日?格罗托夫斯基,《迈向质朴戏剧》,魏时译,中国戏剧出版社1984年版. p.192
21理查德·谢克纳原著,《环境戏剧》,曹路生译,中国戏剧出版社2001年5月第一版。p.196.
22理查德·谢克纳原著,《环境戏剧》,曹路生译,中国戏剧出版社2001年5月第一版。p.196.
23 Richard Schechner,Between Theatre and Anthropology,University of Pennsylvania Press.Philadelphia,1985.p.219.line 6-7.
24 Richard Schechner, Performance Circumstances: From the Avant garde to Ramlila Calcutta,Naveen Kishore, Seagull Books,1983.p.3
25 Richard Schechner, Performance Circumstances: From the Avant garde to Ramlila Calcutta,Naveen Kishore, Seagull Books,1983.p.3
26 Richard Schechner, Performance Circumstances: From the Avant garde to Ramlila Calcutta,Naveen Kishore, Seagull Books,1983.p.3
27 Richard Schechner, Performance Circumstances: From the Avant garde to Ramlila Calcutta,Naveen Kishore, Seagull Books,1983.p.9
28 Richard Schechner, Performance Circumstances: From the Avant garde to Ramlila Calcutta,Naveen Kishore, Seagull Books,1983.p.7
29 Richard Schechner, Performance Circumstances: From the Avant garde to Ramlila Calcutta,Naveen Kishore, Seagull Books,1983.p.6
30 Emory Lewis, Brecht Classic gets new life, The Record, Tuesday, February 25,1975.
31 Richard Schechner:,Performative Circumstances---From the Avant Garde to Ramilila, SEAGULL BOOKS, CALCUTTA, 1983.p.34
32 Richard Schechner,Performative Circumstances---From the Avant Garde to Ramilila, SEAGULL BOOKS, CALCUTTA, 1983.p.44
33 Richard Schechner:,Performative Circumstances---From the Avant Garde to Ramilila, SEAGULL BOOKS, CALCUTTA, 1983.p.48
34 Richard Schechner:,Performative Circumstances---From the Avant Garde to Ramilila, SEAGULL BOOKS, CALCUTTA, 1983.p.48
35 Richard Schechner:,Performative Circumstances---From the Avant Garde to Ramilila, SEAGULL BOOKS, CALCUTTA, 1983.p.40
36 Richard Schechner,Performative Circumstances---From the Avant Garde to Ramilila, SEAGULL BOOKS, CALCUTTA, 1983.p.47
37 Geeti Sen,Schechner Ka Cherry Ka Baghicha, Span June 1983
38 Romesh Chander, Environment Kills Cherry Orchard,“Times of India”, New Delhi, 17/3/1983
39Geeti Sen,Schechner Ka Cherry Ka Baghicha, Span June 1983
40刘擎,《妄谈环境戏剧——〈明日就要出山〉观后》,《话剧》1989,7-8. p.9.
41刘擎,《妄谈环境戏剧——〈明日就要出山〉观后》,《话剧》1989,7-8。p.10.
42孙惠柱,《第四堵墙——戏剧的结构与结构》,上海书店出版社,2006年8月. p.144
43孙惠柱,《第四堵墙——戏剧的结构与结构》,上海书店出版社,2006年8月. p. 144-145
44孙惠柱,《第四堵墙——戏剧的结构与结构》,上海书店出版社,2006年8月. p. 160
45孙惠柱,《第四堵墙——戏剧的结构与结构》,上海书店出版社,2006年8月. p. 161
46左文军,《生动的一课》,《话剧》1989,10. p.3.
47左文军,《生动的一课》,《话剧》1989,10. p.3.
48钱建平,《从草坪到剧场的期待》,《话剧》,1989,7-8. p.20.
49张育年,《文化盲点对谢克纳‘中国环境剧’实验的思考》,《话剧》,1990,1. p.8.
50刘擎,《妄谈环境戏剧——〈明日就要出山〉观后》,《话剧》1989,7-8. p.10.
51张育年,《文化盲点对谢克纳‘中国环境剧’实验的思考》,《话剧》,1990,1。p.8.
52骆正,《中国京剧二十讲》,广西师范大学出版社,2004年3月第一版,p.27
53骆正,《中国京剧二十讲》,广西师范大学出版社,2004年3月第一版,P.27
54杨惠君,《给<奥瑞斯提亚.>一次机会》,《表演艺术》第三十九期, 1996年1月,p.84.
55谢克纳导演手记,p.4. 1995年7月18日
56 Interview with Judith, Malina and Julian Beck.The Drama Review 13.3 (Spring 1969),24-44
57谢克纳,《什么是人类表演学》,《戏剧艺术》,2004. 5. p.4.
58谢克纳,《什么是人类表演学》,《戏剧艺术》,2004.5. p.5.
59谢克纳,《什么是人类表演学》,《戏剧艺术》,2004. 5. p.6.
60郭佳,《北京青年报》, 2005.04.11.
61 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p.214, line 9.
62 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p.214, line 9
63 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p.219, line 23-25
64转引自斯坦尼斯拉夫斯基的《创造的角色》, Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p.214, line 9.
65 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p.220, line 37.
66 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p.222, line 3-5.
67转引自斯坦尼斯拉夫斯基的《创造的角色》, Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p.214, line 9.
68 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p.239, line 9
69 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p.238-239, line 42-3
70 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p. 238, line 12
71 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p. 220, line 35
72 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p. 235, line 23-25
73 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p. 221, line 23-25
74 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p. 240, line 4
75 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p. 234, line 20
76 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p. 240, line 7-12
77 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p. 229, line 9-10.
78 Richard Schechner, Between Theater & Anthropology, University of Pennsylvania Press, Philadelphia. p. 240.
79 Richard Schechner, Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.55.line 28
80 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia.p.60.line 28-29
81 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.61.line 27-28
82 Richard Schechner,Between Theatre and Anthropology, , University of Pennsylvania Press, Philadelphia. p.56. line 8-10
83 Richard Schechner,Between Theatre and Anthropology, , University of Pennsylvania Press, Philadelphia. p.56. line 13-14
84 Richard Schechner,Between Theatre and Anthropology, , University of Pennsylvania Press, Philadelphia. p.56. line 19-21, p.57.line 1-2
85 Richard Schechner,Between Theatre and Anthropology, , University of Pennsylvania Press, Philadelphia. p.57.line 3-6
86 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.57. line 9
87 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.57. line 9-10
88 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.57. line 11-13
89 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.57. line 19-21
90 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. P.60. line 10-11
91 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia.P.59. line 31
92 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.59.line 15-17
93 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. P.59. line 32-33
94 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.60. line 23-25
95 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.60. line 20-23
96 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.62. line 2-3
97 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.71. line 12
98 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.70. 24
99 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.69-70
100 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.70. 18-19
101 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.70. 32-33
102 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.71.38
103 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.72.10-11
104 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.74. 8
105 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.74. 15-16
106 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.73. 15
107 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.73. 23-25
108 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.73. 31-34
109 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.65. 24
110 Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.68, 11
111 (Richard Schechner,Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia,转述自; [Vatsyayan, Kapila.Classical Indian Dance in Literature and Arts. New Delhi: Sangeet Natak Akademi.1968,325,365]
112 Bonnie Marranca and Gautam Dasgupta: Interculturalism and Performance, PAJ Publications, New York,1991 P.308
113孙惠柱,《第四堵墙——戏剧的结构与结构》,上海书店出版社,2006年8月. p.170
114安托南?阿尔托,《残酷戏剧——戏剧及其重影》,桂裕芳译,中国戏剧出版社1993年版. p.3.
115安托南?阿尔托,《残酷戏剧——戏剧及其重影》,桂裕芳译,中国戏剧出版社1993年版. p.76
116 Bonnie Marranca and Gautam Dasgupta: Interculturalism and Performance, PAJ Publications, New York,1991 P.311.
117 Bonnie Marranca and Gautam Dasgupta: Interculturalism and Performance, PAJ Publications, New York,1991. p.311
118转引自孙惠柱,《谁的蝴蝶夫人——戏剧冲突与文明冲突》,商务印书馆,2006年9月. p.106
119转引自孙惠柱,《谁的蝴蝶夫人——戏剧冲突与文明冲突》,商务印书馆,2006年9月. p.107
120孙惠柱,《谁的蝴蝶夫人——戏剧冲突与文明冲突》,商务印书馆,2006年9月. p.107
121曹路生著,《国外后现代戏剧》,江苏美术出版社,2002年8月,p.139
121孙惠柱,《谁的蝴蝶夫人——戏剧冲突与文明冲突》,商务印书馆,2006年9月. p.267
122孙惠柱,《谁的蝴蝶夫人——戏剧冲突与文明冲突》,商务印书馆,2006年9月. p.267
123 Richard Schechner, The“Yes,””No,”and“But”of the Intercultural Performance,p.4.
124 Richard Schechner, The“Yes,””No,”and“But”of the Intercultural Performance,p.5
125孙惠柱,《谁的蝴蝶夫人——戏剧冲突与文明冲突》,商务印书馆,2006年9月. p.261
126 Rustom Bharucha: The Theatre and the World, Routledge, London and New York, 1993 P.32 Routledge
127 Rustom Bharucha: The Theatre and the World, Routledge, London and New York, 1993, P.33 Routledge
128 Rustom Bharucha: The Theatre and the World, Routledge, London and New York, 1993 P.33 Routledge
129转引自克利福德·格尔茨,《文化的解释》,译林出版社,1999,11. p.5
130克利福德·格尔茨,《文化的解释》,译林出版社,1999, 11. p.11
131 Rustom Bharucha, Theatre and the World, Performance and the Politics of Culture, P.37 Routledge
132 Rustom Bharucha, Theatre and the World, Performance and the Politics of Culture, P.35 Routledge
133 Rustom Bharucha, Theatre and the World, Performance and the Politics of Culture, P.36 Routledge
134 Rustom Bharucha: The Theatre and the World, Routledge, London and New York, 1993 P.37 Routledge
135 Richard Schechner, Intercultural Performance: An Introduction,TDR 26,2:3 p.313
136 Janelle Reinelt, Is Performance Studies Imperialist? Part Two, TDR:The Drama Review,Fall,2007.p.10.
137《戏剧学刊》,创刊号,国立台北艺术大学戏剧学院,2005年1月p.19
138《戏剧学刊》,创刊号,国立台北艺术大学戏剧学院,2005年1月.p.18
139《戏剧学刊》,创刊号,国立台北艺术大学戏剧学院,2005年1月.p.19
140《戏剧学刊》,创刊号,国立台北艺术大学戏剧学院,2005年1月.p.19
141,141,141,141,141,141,141,141同上
149 Richard Schechner, Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia. p.55.line 28
150 Richard Schechner, Performance Circumstances: From the Avant garde to Ramlila Calcutta,Naveen Kishore, Seagull Books,1983.p.9
151 Richard Schechner, Performance Circumstances: From the Avant garde to Ramlila Calcutta,Naveen Kishore, Seagull Books,1983.p.7
152 Richard Schechner, Performance Circumstances: From the Avant garde to Ramlila Calcutta,Naveen Kishore, Seagull Books,1983.p.6
1.Alka Raghuvanshi, Cherry Ka Baghicha: an age in Transition, Indian Express, March 1.1983.
2.A.J.Gunawardana, letters to Richard Schechner, November 4,1972.
3.Alma Naquvi, Kaumi Awaaz (Urdu Paper) New Delhi,11.3.1983.
4.Alka Raghuvanshi, Cherry Ka Baghicha, IPS News Bulleton,“Financial Express”Bombay 13/3/1983.
5.Ann Arbor, Mich.: Bacchanal Too Bare for Mich. The New York Times, Tuesday, January 28,1969.
6.Arthur Sainer, The Brilliant Kids Show Us How, The Village Voice December 15.1975.
7.Arthur Sainer, Theatre of War, The Village Voice March 3.1975.
8.Ashok Mishra, Staging of Chekhov’s Play Cherry Ka Baghicha, Janyug, New Delhi, 20 March, 1983.
9.Avanthi Meduri, Phillip Zarrilli, Deborah Neff, More After Peter Brook, TDR, Vol.32. No.2.Summer 1988, pp14-19
10.Banu,Georges, Interview With Peter Brook, TDR, Spring 1986
11.Bonnie Marranca, Mother Courage Re-opens, The Soho Weekly News, Thursday, December 11, 1975.
12.Bonnie Marranca and Gautam Dasgupta: Interculturalism and Performance, PAJ Publications, New York,1991。
13.Clive Barnes: Theater :Development of the Environmental Experience and Audience Involvement of‘Dionysus in 69’, The New York Times,TL,Tuesday ,November 19,1968
14.Clive Barnes, Performance Group’s“Mother Courage”, The New York Times, Wednesday, February 26,1975.
15.David Sears, Mother Courage at the Performing Garage (33 Wooster St.).Show Business, Thursday, March 6.1975.
16.David Williams, Peter Brook and the Mahabharata: Critical Perspectives. London;Routledge,1991
17.Don Shirley, No Rest for the Weary With the Performance Group’s Theater
18.Don Shirley, Staging a Play with Courage, The Washington Post, Saturday, August 9, 1975.
19.Emory Lewis, Brecht Classic gets new life, The Record, Tuesday, February25,1975.
20.Eugenio Barba and Nicola Savarese: A Dictionary of Theatre Anthropology; The Secret Art of The Performer, Routledge, New York and London, 1991.
21.Geeti Sen Interviews Richard Schechner, Schechner Ka Cherry Ka Baghicha, Span June 1983.
22.Graig Latrell,“After Appropriation”TDR, 44.4(2000)47-55
23.Harbeck, James Christopher, Containment Is The Enemy": an ideography of Richard Schechner
24.Hema Sahay, Schechner’s Presentation-Cherry Ka Baghicha, Ravivar,(a Translated version from Hindi), 1-7 May, 1983.
25.Hemendra S. Bartwal, Theatre-Hopping, Cherry Ka Baghicha: Environmental Theatre, Career & Competition Lives, New Delhi, May 1983.
26.Henry Hews, Mother Courage and Her Children, Saturday Review, 4/5/1975
27.Hiltebeitel, Alf, Transmitting Mahabharatas: Another Look at Peter Brook, TDR, Vol,36 .No.3, Fall 1992
28.Jack Kroll, Far From Broadway, Newsweek, April 7,1975.
29.Jean-Claude Carriere, The Mahabharata: a Play Based Upon the Indian Class Epic, Harper & Row, Publishers, New York,1985(Translated by Peter Brook)
30.Janelle Reinelt: Performance Studies Imperialist? TDR Comment. 2007.
31.James Christopher Harbeck:“Containment Is The Enemy”: an ideography of Richard Schechner, Tufts University,1998.
32.Joan E. Vadeboncoeur, Performance Group, Ropes, pulleys create setting, Syracuse Herald-Journal, April 30,1977.
33.John Lahr: On Stage, Village Voice,Oct.8.
34.Jon Mckenzie: Is Performance Studies Imperialist? TDR Comment. 2007.
35.J. Ellen Gainor: Imperialism and Theatre, Routledge, London and New York, 1995。
36.Kavita Nagpal, Gimmickry in Cherry Orchard, Hindustan Times, New Delhi, 7/3/1983.
37.Ladonna Huntley:‘Dionysus in 69’,Drama Emits Strong Reaction, Sentinel,7/11/70
38.Linda Pocock, Review of Performance Group Play
39.Lichti, Esther Sundell,Richard Schechner and the Performance Group: AStudy of Acting Technique and Methodology,1986.Texas Tech University
40.Li Ruru, Shashibiya, Staging Shakespeare in China, Hongkong University Press 2003
41.Lucinda .J. Neal ,A Search for Primitive Voice in Post-modern Theatre
42.Mary Rita Kurycki, Audience in‘Courage’action
43.Marilyn Stasio: Reading for Theatregoers, Cue, October 31,1970
44.Meyer-Dinkgrate,Daniel, Suggestions in Peter Brook’s Mahabharata, Fall 2001
45.Nathan Cohen: Fine performance puts visiting ballet back on its feet, Toronto Daily Star, Fri., Nov. 6, 1970.
46.Nathan Cohen: Revised Dionysus more provoking than provocative, Toronto Daily Star, Mon., Nov. 2, 1970.
47.Patrice Pavis: The Intercultural Performance Reader, Routledge, London and New York, 1996。
48.Phillip Zarrilli, Probir Guba and Deborah Neff, The Aftermath , When Peter Brook Came to India ,TDR,Vol.30. No.1.Spring 1986, pp92-99
49.Phillip Zarrilli, When Peter Brook Came to India? TDR, 30:1 (T109:92-100)
50.Poonam Trivedi and Dennis Bartholomomeusz, India’s Shakespeare, Newark: University of Delaware Press 2005.
51.PradipBhattacharya,PeterBrook’sMahabharata:TheFilm,Von.14,2004.Boloji.com
52.Richard F. Shepard: Not on Marquee, but in Spotlight: The Audience, The
5.Richard F. Shepard: Not on Marquee, but in Spotlight: The Audience, The New York Times, Friday, February 7,1969.
53.Richard L. Coe, Basic“Mother Courage”, The Washington Post, Saturday, May 7,1977.
55.Richard Schechner, Talking with Peter Brook, TDR, Vol. 30. No. Spring 1986
54.Richard Schechner, Director’s Notes, Anamika Kala Sangam Presents Mother Courage & Her Children by The Performance Group.
55.Richard Schechner, letters to A.J.Gunawardana, 19 January,1972.
56.Richard Schechner: Opening Statement, 10 Minutes
57.Richard Schechner: A Mentor with Wisdom and a Drive to Learn
58.Richard Schechner:“I do not put on a play in order to Teach Others What IAlready Know”: Jerzy Grotowsky:1933-1999.
59.Richard Schechner’s Performance Group to Present“Mother Courage”, April 8, 1977/For Immediate Release
60.Richard Schechner: Performative Circumstances---From the Avant Garde to Ramilila, SEAGULL BOOKS, CALCUTTA, 1983。
61.Richard Schechner: The End of Humanism, New York :Performing Arts Journal Press,1982a.
62.Richard Schechner: A MAHARAJA’S FESTIVAL FOR BODY AND SOUL, New York Times, 26 November 2000..
63.Richard Schechner: East and West and Eugenio Barba.
64.Richard Schechner: Performed Imaginaries.
65.Richard Schechner: American Scholars Regard Indian Performances.
66.Richard Schechner: Dixi, Namahage, and the Question of“Folk Performance”.
67.Richard Schechner: A Letter to Barbara,18 October,1998,6 am.
68.Richard Schechner: Chinese Theatre Theory In Perspective.
69.Richard Schechner: A Reply to Rustom Bharucha. Asian Theatre Journal. ,Vol.1.No.2,Autumn,1984。
70.Richard Schechner: The“Yes,””No,”and“But”of Intercultural Performances.
71.Richard Schechner: One Hand, Many Fingers.
72.Richard Schechner: Directing Out of Culture, PSC2 NWU March 96.
73.Richard Schechner: Performance Studies Without End? TDR Comment. 2007.
74.Richard Schechner: Performance Theory, Routledge, New York and London, 1977。
75.Richard Schechner: Public Domain------Essays on the Theatre, THE BOBBS—MERRILL COMPANY, Indianapolis and New York, 1969。
76.Richard Schechner: Rasaesthetics.
77.Richard Schechner: Between Theatre and Anthropology, University of Pennsylvania Press, Philadelphia, 1985.
78.Roger Greenspun: Screen: De Palma’s‘Dionysus in 69’, The New York Times, 3/23/70.
79.Romesh Chander, Environment Kills Cherry Orchard,“Times of India”, New Delhi, 17/3/1983.
80.Rustom Bharucha: The Theatre and the World, Routledge, London and New York, 1993。
81.Rustom Bharucha, The Politics of Cultural Practice: Thinking Through Theatre in an Age of Globalization
82.Rustom Bharucha, In the Name of the Secular: Contemporary Cultural Activism in India
83.Rustom Bharucha, The Questions of Faith
84.Rustom Bharucha, Rajasthan: An Oral History : Conversation with Komal Kothari
85.Rustom Bharucha, Foreign Asia/Foreign Sakespeare: Dissenting Notes on New Asia, Interculturality, Postcoloniality and Recolonialization, Theatre Journal,
56.1 (2004) 1-2813.Ruth Fischer: Play’s the Plot, The Plax Dealer, Sunday, January 17,1971.
86.Sarveshwar Dayal Saxena, Culture in the Capital, Cherry Orchard and Ramnagar’s Ramlila, Navbharat Times, a Hindi Daily, 17 March,1983.
87.Sharon Demarko: Modern Theatre Recounted, Pensacola News-Journal,
8/2/27
88.Thomas Lask, A Place to Pick Up New Theatre Ideas, The New York Times, Friday, March 25,1977.
89.Special to New York Times: 10 Nudes in‘Dionysus’Arrested at Michigan U. The New York Times, Tuesday, January 28,1969.
90.‘Dionysus in 69’, A Play by The Performance Group,
91.A Play by The Performance Group,‘Dionysus in 69’
92.Stage Nudity, Chapel Hill Weekly, N.C. 6/21/70.
93.Welding Audience and Actors, Forming a Play with Courage, The Washington Post, Saturday, August 9, 1975.
94.Program Schedule of The Performance Group, Directed by Richard Schechner, During May 3-15 Residency at the American University.
95.Our Drama Critic, Chekhov Recreated,“Patriot”New Delhi, 1/3/1983.
96.Our Drama Critic, A Classic Production,“Patriot”New Delhi, 1/3/1983.
97.Our Drama Critic, Irrelevant Approach to Theatre, The Sunday Statesman, February 27,1983.
98.Love & Violence in America or The Young Boy’s Nightmare, Dionysus in 69, an arrangement of Euripides’Bacchae by Richard Schechner, editor of The Drama Review
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