安美珍 （Megan Ammirati）
题目: Annals of the Theater 戏剧春秋: Canonizing Modern Chinese Drama
主持人： 南京大学外国语学院 张 瑛 副教授
主讲人简介: Megan Ammirati (安美珍) received a BA in English Literature and Chinese Language from the College of William and Mary in Virginia and a Ph.D. in Comparative Literature with a Designated Emphasis in Feminist Research from the University of California, Davis. Her work has been published by journals including Modern Chinese Literature and Culture and the Asian Theatre Journal and her Chinese-language book chapter is forthcoming from the Beijing Higher Education Press. Dr. Ammirati’s research has been supported by the Emerging Scholar’s Award from the Association for Asian Performance, the UC Davis Provost’s Dissertation Year Fellowship, and a Fulbright student research grant to China in 2015-2016. Currently, she is a visiting translator and researcher for Nanjing University’s School of Arts and Institute of Advanced Studies.
讲座提要: In 1943, three of China’s most prominent Leftist playwrights (Xia Yan ﾏﾄﾑﾜ, Song Zhidi ﾋﾎﾖｮｵﾄ, and Yu Ling ﾓﾚﾁæ) set out to collectively compose a play that would articulate the value of Chinese theatre in the midst of the War of Resistance Against Japan. Their final product was titled Annals of the Theater (XijuChunqiu 戏剧ｴｺﾇï): a semi-fictional history of the spoken drama movement. Each act re-imagines an important stage in the development of the genre including the standardization of gender-straight casting, audience riots against Nationalist censorship, and the start of the War of Resistance.
In dramatizing the history of its own artistic field, Annals of the Theater shines a light on the untold stories of backstage laborers such as directors, stagehands, and the first generation of modern Chinese actresses. However, in narrating an unofficial history of the Chinese drama movement, the play does not recognize all participants evenly. Although the fictional actresses in Annals of the Theater speak openly about the societal bias constricting their lives, they are also overshadowed by male artists within the text itself or removed from the narrative by means of tragic deaths. Through a close reading of Annals of the Theater, this talk considers the process of canonizing modern Chinese drama from the perspective of its founders as well as other, more marginalized laborers in the theater community. In addition to dramatic texts, it analyzes standard Chinese theater histories and points toward the theoretical and archival work that remains to be done to supplement their elisions.