现代日本翻译政治的表演:阿拉贡·奎因的《抵抗》(书评)

IF 0.3 3区 艺术学 0 ASIAN STUDIES ASIAN THEATRE JOURNAL Pub Date : 2022-09-01 DOI:10.1353/atj.2022.0032
David Jortner
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引用次数: 0

摘要

巴鲁查,罗斯顿,2000。文化实践的政治:全球化时代的戏剧思考。伦敦:阿斯隆出版社。布莱希特,贝托尔特。2018。布莱希特论剧院,马克·西尔伯曼、汤姆·库恩和史蒂夫·贾尔斯主编;反式。杰克·戴维斯、罗米·弗斯兰、史蒂夫·贾尔斯、维多利亚·希尔、克里斯托弗·因布里戈塔、马克·西尔伯曼和约翰·威利特。伦敦:布卢姆斯伯里。卡尔森,马文。2003。闹鬼的舞台:作为记忆机器的戏剧。密歇根:密歇根大学出版社。何成洲,2016。“跨文化主义的东亚范式”。《欧洲评论》第24期。2: 210 - 220。安东尼·塔特洛,2014。《佛陀的沉默:高行健、布莱希特和贝克特的三角关系》《复调的体现——高行健作品中的自由与命运》,迈克尔·拉克纳、尼古拉·霞多丽主编,57-72页。柏林:德格吕特。田敏。1997。“对谁的‘疏离效应’?”布莱希特对中国古典戏剧的(错误)诠释。《亚洲戏剧杂志》第14期。2: 200 - 222。
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Performing The Politics of Translation in Modern Japan: Staging The Resistance by Aragorn Quinn (review)
Bharucha, Rustom. 2000. The Politics of Cultural Practice: Thinking Through Theatre in an Age of Globalization. London: Athlone Press. Brecht, Bertolt. 2018. Brecht on Theatre, ed. Marc Silberman, Tom Kuhn, and Steve Giles; trans. Jack Davis, Romy Fursland, Steve Giles, Victoria Hill, Kristopher Imbrigotta, Marc Silberman, and John Willett. London: Bloomsbury. Carlson, Marvin. 2003. The Haunted Stage: Theatre as Memory Machine. Michigan: University of Michigan Press. He, Chengzhou. 2016. “An East Asian Paradigm of Interculturalism.” European Review 24, no. 2: 210–220. Tatlow, Antony. 2014. “The Silence of Buddha: Triangulating Gao Xingjian, Brecht, and Beckett.” In Polyphony Embodied – Freedom and Fate in Gao Xingjian’s Writings, ed. Michael Lackner and Nikola Chardonnens, 57–72. Berlin: De Gruyter. Tian, Min. 1997. “‘Alienation-Effect’ for Whom?: Brecht’s (Mis)interpretation of the Classical Chinese Theatre.” Asian Theatre Journal 14, no. 2: 200–222.
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