“表演”在人类学视野中的转换——《表演人类学读本》解析
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摘要
表演作为与人类生命息息相关的属性,自始至终是人类学讨论的重要话题。随着表演人类学研究的发展,其理论范式和视角也呈现出多样化趋势。弗兰克·J·克罗姆编纂的论文集《表演人类学读本》作为这一领域的新成果,通过前沿的表演研究理论、方法和全球视野中的文化实践,探索表演的意义和价值。以此为基础,文章梳理出"舞台表演与审美实践""日常生活与功能性表演""口头文学与言说艺术""社会戏剧与仪式庆典""民族国家及政治展演"五条线索,阐释人类学视野转换中的"表演"。《读本》作为研究表演人类学的多视角、跨学科的"百科全书",为舞蹈表演和人类学观察带来反思和借鉴,即在学术研究中,研究者不仅要将表演放到更宽广的视野中,更重要的是用互动和转化的观点看待文化,进而研究和发现人类和社会发展的本质。
Performance,as an attribute closely related to human life,is an important topic in anthropology from beginning to end.With the development of performance anthropology,its theoretical paradigm and perspective also show a trend of diversification. As a new achievement in this field,Anthropology of Performance: A Reader compiled by Frank J. Korom is to explore the significance and value of performance through cutting-edge research theories,methods and cultural practice in the global perspective. On this basis,this paper sorts out five clues: "stage performance and aesthetic practice","daily life and functional performance","oral literature and art","social drama and ritual celebration","national and political performances",then interprets"performance"in changing horizon of anthropology. As a multi-perspective and interdisciplinary encyclopedia in the study of performance anthropology,this reader brings reflection and inspiration for dance research and observation of anthropology,which not only puts the performance in a broader field of vision,but treats culture with the view of interaction and transformation as well,and finally studies and discovers the human nature and social development.
Performance,as an attribute closely related to human life,is an important topic in anthropology from beginning to end.With the development of performance anthropology,its theoretical paradigm and perspective also show a trend of diversification. As a new achievement in this field,Anthropology of Performance: A Reader compiled by Frank J. Korom is to explore the significance and value of performance through cutting-edge research theories,methods and cultural practice in the global perspective. On this basis,this paper sorts out five clues: "stage performance and aesthetic practice","daily life and functional performance","oral literature and art","social drama and ritual celebration","national and political performances",then interprets"performance"in changing horizon of anthropology. As a multi-perspective and interdisciplinary encyclopedia in the study of performance anthropology,this reader brings reflection and inspiration for dance research and observation of anthropology,which not only puts the performance in a broader field of vision,but treats culture with the view of interaction and transformation as well,and finally studies and discovers the human nature and social development.
引文
[1]KOROM F J.The anthropology of performance:a reader[M].Chichester,West Sussex;Malden,MA:WileyBlackwell,2013.
[2]APPADURAI A,KOROM F J&MILLS M A.Gender,genre,and power in South Asian expressive traditions[M].Philadelphia:TRINIDAD H.University of Pennsylvania Press,1991.
[3]KOROM F J.,TRINIDAD H:Muharram performances in an Indo-Caribbean diaspora[M].Philadelphia:University of Pennsylvania Press,2002.
[4]KOROM F J.South Asian folklore:a handbook[M].Westport,Conn:Greenwood Press,2006.
[5]KOROM F J.Village of painters:narrative scrolls from West Bengal[M].Museum of New Mexico Press,2006.
[6]KAPCHAN D A.Performance[J].Journal of American Folklore,1995:108(430):479.
[7]LORD A B.The singer of tales[M].Cambridge,MA:Harvard University Press,1960:1-12.
[8]FLUECKIGER J B.“He should have worn a sari”:a“failed”performance of a central Indian oral epic[J].TDR(1988-),1998,32(1):159-169.
[9]MAGOWAN F.Shadows of song:exploring research and performance strategies in Yolngu women’s crying-Songs[J].Oceania,2001,72(2):89-104.
[10]戈夫曼.日常生活中的自我呈现[M].黄受华,冯钢,译.杭州:浙江人民出版社,1989:1-15.
[11]布朗.安达曼岛人[M].梁粤,译.桂林:广西师范大学出版社,2005:25-95.
[12]米德.萨摩亚人的成年:为西方文明所作的原始人类的青年心理研究[M].周晓虹,等译.杭州:浙江人民出版社,1988:88-98.
[13]BAUMAN R.The la have Island general store:sociability and verbal art in a Nova Scotia community[J].Journal of American folklore,1972,85(338):330-343.
[14]ABRAHAMS R D.“Playing the dozens”[J].Journal of American folklore,1962,75(297):209-220.
[15]布朗.原始社会结构与功能[M].丁国勇,译.北京:九州出版社,2007:176-211.
[16]NOSS P A.Gbaya riddles in changing times[J].Research in African literatures,2006,37(2):34-42.
[17]鲍曼.作为表演的口头艺术[M].杨利慧译.桂林:广西师范大学出版社,2008:1-51,65-81,222-242.
[18]特纳.戏剧、场景及隐喻:人类社会的象征性行为[M].刘珩,石毅,译.北京:民族出版社,2007:11-56.
[19]谢克纳.人类表演学的现状、历史与未来[J].孙惠柱,译.上海戏剧学院学报,2005(5):1-7.
[20]SINGER M.When a great tradition modernizes,an anthropological approach to Indian civilization[M].New York:Praeger Publishers Contemporary Sociology,1972:71.
[21]LOGAN A P.The palio of Siena:performance and process[J].Urban anthropology,1978,7(1):45-65.
[22]MANNING F E.Celebrating cricket:the symbolic construction of Caribbean politics[J].American ethnologist,2010,8(3):616-632.
[23]HANDELMAN D.Models and mirrors:towards an anthropology of public events[M].Cambridge:Cambridge University Press,1990:41-48.
[24]HIWASAKI L.Ethnic tourism in Hokkaido and the shaping of Ainu identity[J].Pacific affairs,2000,73(3):393-412.
[25]OSUMARE H.Global break dancing and the intercultural Body[J].Dance research journal,2002,34(2):30-45.
[26]KONER P.Elements of performance:a guide for performers in dance,theatre and opera[M].New York:Routledge:2012.
[27]NAGRIN D.The Six questions:acting technique for dance performance[M].Pittsburgh:University of Pittsburgh Press,1997:100-101.
[28]SMITH-AUTARD J.Dance composition:a practical guide to creative success in dance making(Performance Books)[M].London:A&C Black Publishers Ltd:2010,220.
[29]MARTIN R.Dance ethnography and the limits of representation[J].Social text,1992(33):103-123.
[30]ROYCE A P.The anthropology of dance[M].Bloomington:Indiana University Press:1977:17-37.
[31]SPENCER P.Society and the dance:the social anthropology of process and performance[J].Pacific affairs,1985:61(2):322-323.
[32]ROYCE A P.Anthropology of the performing arts:artistry,virtuosity,and interpretation in a cross-cultural perspective[M].New York:Altamira Press,2004:239.
[33]APPADURAI A.Modernity at large:cultural dimensions of globalization minneapolis[M].University of Minnesota Press,1996:11-15;HANNERTZ U.Transnational connections:culture,people,places[M].New York:Routledge,1996:1-16.
[34]KRAIDY M M.Hybridity:the cultural logic of globalization[M].Philadelphia:Temple University Press,2005:2.
[2]APPADURAI A,KOROM F J&MILLS M A.Gender,genre,and power in South Asian expressive traditions[M].Philadelphia:TRINIDAD H.University of Pennsylvania Press,1991.
[3]KOROM F J.,TRINIDAD H:Muharram performances in an Indo-Caribbean diaspora[M].Philadelphia:University of Pennsylvania Press,2002.
[4]KOROM F J.South Asian folklore:a handbook[M].Westport,Conn:Greenwood Press,2006.
[5]KOROM F J.Village of painters:narrative scrolls from West Bengal[M].Museum of New Mexico Press,2006.
[6]KAPCHAN D A.Performance[J].Journal of American Folklore,1995:108(430):479.
[7]LORD A B.The singer of tales[M].Cambridge,MA:Harvard University Press,1960:1-12.
[8]FLUECKIGER J B.“He should have worn a sari”:a“failed”performance of a central Indian oral epic[J].TDR(1988-),1998,32(1):159-169.
[9]MAGOWAN F.Shadows of song:exploring research and performance strategies in Yolngu women’s crying-Songs[J].Oceania,2001,72(2):89-104.
[10]戈夫曼.日常生活中的自我呈现[M].黄受华,冯钢,译.杭州:浙江人民出版社,1989:1-15.
[11]布朗.安达曼岛人[M].梁粤,译.桂林:广西师范大学出版社,2005:25-95.
[12]米德.萨摩亚人的成年:为西方文明所作的原始人类的青年心理研究[M].周晓虹,等译.杭州:浙江人民出版社,1988:88-98.
[13]BAUMAN R.The la have Island general store:sociability and verbal art in a Nova Scotia community[J].Journal of American folklore,1972,85(338):330-343.
[14]ABRAHAMS R D.“Playing the dozens”[J].Journal of American folklore,1962,75(297):209-220.
[15]布朗.原始社会结构与功能[M].丁国勇,译.北京:九州出版社,2007:176-211.
[16]NOSS P A.Gbaya riddles in changing times[J].Research in African literatures,2006,37(2):34-42.
[17]鲍曼.作为表演的口头艺术[M].杨利慧译.桂林:广西师范大学出版社,2008:1-51,65-81,222-242.
[18]特纳.戏剧、场景及隐喻:人类社会的象征性行为[M].刘珩,石毅,译.北京:民族出版社,2007:11-56.
[19]谢克纳.人类表演学的现状、历史与未来[J].孙惠柱,译.上海戏剧学院学报,2005(5):1-7.
[20]SINGER M.When a great tradition modernizes,an anthropological approach to Indian civilization[M].New York:Praeger Publishers Contemporary Sociology,1972:71.
[21]LOGAN A P.The palio of Siena:performance and process[J].Urban anthropology,1978,7(1):45-65.
[22]MANNING F E.Celebrating cricket:the symbolic construction of Caribbean politics[J].American ethnologist,2010,8(3):616-632.
[23]HANDELMAN D.Models and mirrors:towards an anthropology of public events[M].Cambridge:Cambridge University Press,1990:41-48.
[24]HIWASAKI L.Ethnic tourism in Hokkaido and the shaping of Ainu identity[J].Pacific affairs,2000,73(3):393-412.
[25]OSUMARE H.Global break dancing and the intercultural Body[J].Dance research journal,2002,34(2):30-45.
[26]KONER P.Elements of performance:a guide for performers in dance,theatre and opera[M].New York:Routledge:2012.
[27]NAGRIN D.The Six questions:acting technique for dance performance[M].Pittsburgh:University of Pittsburgh Press,1997:100-101.
[28]SMITH-AUTARD J.Dance composition:a practical guide to creative success in dance making(Performance Books)[M].London:A&C Black Publishers Ltd:2010,220.
[29]MARTIN R.Dance ethnography and the limits of representation[J].Social text,1992(33):103-123.
[30]ROYCE A P.The anthropology of dance[M].Bloomington:Indiana University Press:1977:17-37.
[31]SPENCER P.Society and the dance:the social anthropology of process and performance[J].Pacific affairs,1985:61(2):322-323.
[32]ROYCE A P.Anthropology of the performing arts:artistry,virtuosity,and interpretation in a cross-cultural perspective[M].New York:Altamira Press,2004:239.
[33]APPADURAI A.Modernity at large:cultural dimensions of globalization minneapolis[M].University of Minnesota Press,1996:11-15;HANNERTZ U.Transnational connections:culture,people,places[M].New York:Routledge,1996:1-16.
[34]KRAIDY M M.Hybridity:the cultural logic of globalization[M].Philadelphia:Temple University Press,2005:2.