THE POLITICS OF CULTURAL PRACTICE: THINKING THROUGH THE A TRE IN AN AGE OF GL OBALIZATION by Rustom Bharucha. Hanover: Wesleyan University Press, 2000. Hardcover $50
THE POLITICS OF CULTURAL PRACTICE: THINKING THROUGH THE A TRE IN AN AGE OF GL OBALIZATION by Rustom Bharucha. Hanover: Wesleyan University Press, 2000. Hardcover $50
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《文化实践的政治：在全球化时代思考 A TRE》作者：Rustom Bharucha。
DOI：
10.5860/choice.38-3826
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2001
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Rustom Bharucha在《文化实践的政治学》中将戏剧比喻为“世界的实验室”，通过跨文化主义、文化内主义、多元文化主义和世俗主义的范式来思考全球化、地方自治主义和文化主义等新兴问题。他延续了他以前的著作《戏剧与世界》（1990）和《世俗的名字》（1998）中的激进主义立场，用一系列问题（第2页）解决了这些问题：“戏剧中表现的伦理是什么？代表对方承担责任和参与的替代模式是什么？一个人如何开始尊重而不仅仅是容忍文化差异？经济上的不平等是否也能包括在尊重文化差异的范围之内？”他将个人轶事与霍米·巴巴（Homi Bhabha）、阿尔琼·阿帕杜赖（Arjun Appadurai）等人的理论观点结合起来，揭示了“意义在其传播、翻译和在其他文化中的具体使用过程中是如何变异和代谢的”（第1页）。巴鲁查的第一章，“跨文化主义及其歧视：改变民族，多元文化和全球的传统”，为本书的其余部分奠定了文体基调。在这一章中，他询问了跨文化主义和跨文化实践的常见方法，这些方法侧重于布鲁克、姆努什金和其他人的多国作品。相反，他将跨文化主义置于国家，个人权利，全球议程，种族和多元文化主义的不断变化的概念中。这种对基本结构的持续质疑鼓励读者思考个体主体的持续谈判和跨文化主义中所隐含的平等交换，并考虑个体主体和平等交换如何与全球权力结构相关。接下来的五个章节详细阐述了通过印度不同的表演场所，“内部”和“内部”这两个术语所隐含的交换概念：在一个全球性商业组织青年总裁组织的前工厂的表演; Peer Gynt和迈索尔社区的交叉点;电影《火》中的性政治;校舍中的戏剧即兴表演;还有曼尼普尔的赖哈劳巴节。每个地点都成为巴鲁查阐明沟通和接受的复杂配置的机会，因为政治、人和技术交织在一起，创造了主体性和社区的新结构。然而，中心问题仍然是“跨文化赞助，跨国家，在印度境内的文化内交流，通过不利于自我精神的机构，为文化资本的全球化提供了支持”（第103页）。50）。在巴鲁查的论点中，印度的表现仍然是界定当代少数民族和人权、民族和社区身份以及与跨国企业集团有关的问题的中心。因此，隐含的印度提供了理论基础，
Rustom Bharucha in The Politics of Cultural Practice uses the metaphor of theatre as the “laboratory of the world” to consider the emergent issues of globalization, communalism, and culturalism through the paradigms of interculturalism, intraculturalism, multiculturalism, and secularism. Continuing the activist stance of his previous books, Theatre and the World (1990) and The Name of the Secular (1998), he addresses these issues with a series of questions (p. 2): “What are the ethics of representation in the theatre? What are the alternative modalities of representing the other with responsibility and engagement? How does one begin to respect—and not just tolerate—cultural differences? Can economic inequalities be included in one’s respect for cultural difference?” He engages these questions by combining personal anecdote with the theoretical perspectives of Homi Bhabha, Arjun Appadurai, and others to reveal “how meanings mutate and metabolize in the course of their transportation, translation, and specific uses in other cultures” (p. 1). Bharucha’s initial chapter, “Interculturalism and Its Discriminations: Shifting the Agendas of the National, the Multicultural, and the Global,” sets the stylistic tone for the rest of the book. In this chapter he interrogates common approaches to interculturalism and intercultural practice that focus on the multinational productions of Brook, Mnouchkine, and others. Instead he situates interculturalism within the shifting conceptions of nation, individual rights, global agendas, ethnicity, and multiculturalism. This consistent questioning of basic constructs encourages the reader to contemplate the ongoing negotiations of individual subjects and the equality of exchange implied in the term interculturalism and to consider how both—individual subjects and equality of exchange—are related to global power structures. The five chapters that follow elaborate on the concept of exchange implicit in the terms “inter” and “intra” through diverse sites of performance in India: a performance at a former factory for the Young Presidents Organization, a global business organization; the intersection of Peer Gynt and the community of Mysore; the politics of sexuality in the film Fire; a theatre improvisation in a schoolhouse; and the festival of Lai Haraoba in Manipur. Each site becomes an opportunity for Bharucha to elucidate the complex configurations of communication and reception as politics, people, and technology are interwoven to create new constructions of subjectivity and community. The central issue, however, remains “the intercultural patronage, across nations, of the intracultural exchange within the boundaries of India, which feeds the globalization of cultural capital through agencies inimical to the ethos of selfs u f fi c i e n c y ”( p . 50). In Bharucha’s argument, performance in India remains at the center of defining contemporary concerns of minority and human rights, national and community identity, and issues related to transnational conglomerates. Implicitly India therefore provides the theoretical base from which 274 Book Reviews