上海戏剧学院跨文化交流学“全球性视角下的中国表演艺术”课程研究生创作－研究展演
Presentations of Creative Research Projects
For the courseChinese Performing Arts in Global Perspectives
By the MA students of Intercultural Communication Studies, Shanghai Theatre Academy
8日晚上的四出作品，跨越戏剧、舞蹈、装置、影像、纪录片，以当代、全球与在地的视角开启与中国表演艺术的对话。回顾易卜生的娜拉与胡适的田亚梅谈当代女性的选择；借鉴梅兰芳的《贵妃醉酒》探索当代性别表演的可能；反问“快乐”的意义为何；记录并思考上海表演的“空间”在哪儿。由上海戏剧学院跨文化交流学的国际研究生创想，与本地学生、艺术家合作；结合创作与研究，进入美学的体验与智性的思考。
Four works, presented on Nov. 8, in formats across theatre, dance, installation, video art, and documentary film enter dialogues with Chinese performing arts from contemporary, glocal perspectives. Ibsen’s Nora and Hu Shi’s Tian Yamei are re-engagedtodiscuss women’s decisionstoday; Mei Lanfang’sDrunken Beautyinspires exploration of gender performance of our time; what do we mean to be “happy,” and what’s the politics of space to perform in Shanghai? Weinviteyou toparticipate and discuss with us via these creative-research projects led by the international graduate students of STA’sIntercultural Communication Studies, in collaboration with local students and artists－an experiment that merges aesthetic experience and intellectual engagement.
15日研讨的话题包括Topics discussed on Nov. 15 include：
《红色娘子军》的芭蕾舞蹈研究On the ballet ofThe Red Detachment of Women——Darya Shauchenka(白俄罗斯Belarus)
《白毛女》与《红色娘子军》的女性形象研究On the representation of women inThe White Haired GirlandThe Red Detachment of Women——Francesca Wright (英国UK)
文革与西方的政治文艺宣传比较研究Comparative study of propaganda art and performance in Chinese Cultural Revolution and cases in the West——Rachel Turner (英国UK)
上海二、三十年代时代曲及其后续发展研究(记录短片)On the Modern Songs of 1920s and 1930s Shanghai and what happened to it afterwards (short documentary film)——Emma Hallstrom (挪威Norway)andMackey Landy (美国USA)
（本照片由浥尘工作室提供）