《幽灵出没的舞台》【内容简介】

　　《幽灵出没的舞台》是戏剧理论的经典作品，是对戏剧理论家赫伯特•布劳和约瑟夫•罗奇提出的将戏剧作为记忆机制的“幽灵”的理论的发展。作者马文•卡尔森认为，戏剧作为一种文化活动，与记忆、重述密切相关。纵观整个戏剧史，舞台创作中的几乎每一个元素都存在被循环使用的情况，任何一个经常在剧院观看演出的观众也都曾有“这是一场熟悉的演出”的体验，这种体验会让人联想到之前他们接触到的艺术作品。这种戏剧作为记忆机制的现象，在卡尔森看来就是“幽灵出没的”（haunted,ghosted）。卡尔森认为，戏剧从从古至今在本质上都是“幽灵出没的”，其作为一种文化活动与记忆、重述密切相关，它总是在相同的情景、相同的空间中，与相同的身体（舞台和观众席位）、相同的物质材料一起形成“幽灵出没”的效果。本书曾获由纽约大学颁发的奖励美国最佳戏剧书籍的卡洛韦奖。目前，西方戏剧学界已经普遍接受了马文•卡尔森提出的戏剧是“幽灵出没的”这种说法，近年来在一些戏剧理论新著中，“幽灵出没的”一词也已经作为一种固定概念被使用。

　　作者简介

　　马文•卡尔森

　　MarvinCarlson（1935-）

　　康奈尔大学戏剧系博士，世界著名戏剧学、表演学、比较文学、中东研究教授，曾任康奈尔大学教授，纽约市立大学研究生院S.ECohen教授，并曾兼任华盛顿大学教授、印第安那大学高级研究员、柏林自由大学客座教授，2005年被希腊雅典大学授予荣誉博士。主要研究领域为戏剧学理论、表演学理论、世界戏剧史、阿拉伯戏剧，并为《西方戏剧和阿拉伯戏剧》学刊创刊主编。曾获ATHE事业成就奖、乔治•吉恩•内森奖、伯纳德•休伊特奖、乔治•弗里德利奖、卡洛韦奖、古根海姆奖等重要奖项。主要著作有《戏剧理论》《表演批评》《用方言说话：戏剧中的语言》《戏剧》《打碎哈姆雷特的镜子：戏剧与现实》《一万个夜晚：50年看到的好戏》等。

　　朱夏君

　　文学博士，上海戏剧学院副教授，纽约城市大学访问学者，汤显祖研究中心研究员，环球时报“希望英才”青年学者。主要研究方向为中国古典戏曲史论、昆曲、中外戏剧比较，曾主持并完成国家社科艺术学项目、上海市教委项目等。著有专著《二十世纪昆曲研究》《戏之为戏：中国古典戏曲的本体与源流》。曾在《文学评论》《清华大学学报》《戏曲研究》《中国音乐》《戏剧艺术》《艺术百家》《艺术评论》等刊物发表过论文，并有多篇论文被《人大复印资料》《新华文摘》转载和摘编。

"The Haunted Stage" 【 Content Introduction 】

The Ghostly Stage is a classic work of theatre theory, a development of the theory of theatre theorists Herbert Blau and Joseph Roach that uses theatre as a "ghost" mechanism of memory. The author Marvin Carlson believes that drama, as a cultural activity, is closely related to memory and retelling. Throughout the history of theater, almost every element in the creation of the stage has been recycled, and anyone who regularly attends a theater performance has had the experience of "this is a familiar show," which reminds people of previous works of art they have been exposed to. This phenomenon of drama as a memory mechanism is, in Carlson's view, "haunted" (ghosted). Carlson believes that drama has been "haunted" in essence since ancient times. As a cultural activity, it is closely related to memory and retelling. It always forms the effect of "haunted" in the same scene, the same space, with the same body (stage and audience seats) and the same material materials. The book won the Calloway Award, awarded by New York University for the best American drama book. At present, the western theater circles have generally accepted the idea that the drama is "haunted" put forward by Marvin Carlson. In recent years, the term "haunted" has been used as a fixed concept in some new books of drama theory.

About the author

Marvin Carlson

MarvinCarlson (1935-)

He is a world-renowned professor of drama, performance, comparative literature, and Middle Eastern Studies at Cornell University, and has served as a professor at Cornell University, S.E. Cohen Professor at the Graduate School of the City University of New York, and also served as a professor at the University of Washington, Senior Research fellow at Indiana University, and visiting professor at the Free University of Berlin. In 2005, he was awarded an honorary doctorate by the University of Athens, Greece. His research interests include drama theory, performance theory, world drama history, and Arab drama. He is the founding editor of the journal Western Drama and Arab Drama. He has received the ATHE Career Achievement Award, the George Gene Nathan Award, the Bernard Hewitt Award, the George Fridley Award, the Calloway Award, the Guggenheim Award, and other important awards. His books include Theory of the Play, Criticism of Performance, Speaking in Tongues: Language in the Play, The Play, Breaking Hamlet's Mirror: Play and Reality, and Ten Thousand Nights: Fifty Years of Seeing Good.

Zhu Xiajun

Doctor of Literature, Associate Professor of Shanghai Theatre Academy, Visiting scholar of City University of New York, Researcher of Tang Xianzu Research Center, Global Times "Hope Talent" young scholar. His main research interests are the history of classical Chinese opera, Kunqu Opera, and the comparison of Chinese and foreign dramas. He has presided over and completed the National Social Science and Art Project and the Shanghai Education Commission Project. He is the author of a Study of Kunqu Opera in the 20th Century and A Play for a Play: The Essence and Origin of Chinese Classical Opera. He has published papers in journals such as Literary Review, Journal of Tsinghua University, Drama Studies, Chinese Music, Drama Art, Art Review, etc., and many papers have been reproduced and edited by Renmin University Photocopying Materials and Xinhua Digest.