Frontiers of Theatre Studies
FTS, Vol. 1, No. 1, 2026, pp.51-59.
Print ISSN: 3106-8073; Online ISSN: 3106-8081
Journal homepage: https://www.ftsjournal.com
DOI: https://doi.org/10.64058/fts260106ftcsn
新世纪以来法国戏剧在中国的演出、翻译与研究
肖紫晴（Xiao Ziqing)，李 纲（Li Gang）
摘要：新世纪以来，法国戏剧在中国的传播从零散的文本引介转变为国家推动的多元文化实践，“中法文化之春”等平台的建立使其进入官方文化外交体系，并通过戏剧节与高清影像技术拓展了传播渠道，挑战并重塑了中国观众的观剧体验。在文本层面，翻译与改编从过去的哲学思辨向日常生活回归，更加注重舞台的可演性，原版戏剧冷峻疏离的存在主义底色往往被更具亲和力的伦理温情覆盖，而商业制作过程中的明星参与也进一步拓展了剧本意义。在学术领域，法国戏剧研究逐渐独立于文学史框架，转向剧场学与当代美学，填补了荒诞派之后数十年的认知空白，大众社交媒体的兴起则使批评权下放，众声喧哗。异域戏剧的输入不仅是文化消费的对象，更成为中国戏剧主体性建构的重要参照，催生其在语言、身体与剧场观念上的无限可能。
关键词：法国戏剧；跨文化戏剧交流；接受美学；主体性
作者简介：肖紫晴，中南财经政法大学新闻与文化传播学院硕士研究生，研究方向：比较文学与世界文学。电子邮箱：xiaoziqing1747@163.com。李纲（通讯作者），中南财经政法大学儿童文学创研中心研究员，研究方向：英美文学、儿童文学。电子邮箱：13206679@qq.com。
Title: French Theatre in China Since the New Century: Performance, Translation, and Research
Abstract: Since the new century, the dissemination of French drama in China has evolved from fragmented textual introductions into a state-promoted multicultural practice. The establishment of platforms such as the “Croisements Festival” (Spring of Sino-French Culture) has integrated it into the official cultural diplomacy system. Meanwhile, communication channels have been expanded through drama festivals and high-definition screening technologies, fundamentally challenging and reshaping the viewing experiences of Chinese audiences. At the textual level, translation and adaptation have shifted from past philosophical speculations back to everyday life, placing greater emphasis on stage performability. The cold and alienated existential undertones of the original plays are frequently replaced by a more relatable ethical warmth, while the involvement of celebrities in commercial productions has further expanded the multifaceted meanings of the scripts. In the academic realm, the study of French drama has gradually broken away from the traditional framework of literary history, pivoting towards theatrology and contemporary aesthetics, thereby filling the cognitive gap concerning the post-absurdist decades. Concurrently, the rise of mass social media has decentralized critical authority, giving rise to a diversified public discourse. Ultimately, the introduction of exotic drama serves not merely as an object of cultural consumption, but as a crucial reference for the subjective construction of Chinese theatre, inspiring infinite possibilities in terms of theatrical language, physical expression, and conceptual frameworks.
Keywords: French Theatre; cross-cultural theatre Communication; reception Aesthetics; subjectivity
Author Biographies: Xiao Ziqing, Master’s student, School of Journalism and Cultural Communication, Zhongnan University of Economics and Law. Research interests: Comparative Literature and World Literature. E-mail: xiaoziqing1747@163.com. Li Gang (Corresponding author), Research Fellow, Children’s Literature Research and Creation Center, Zhongnan University of Economics and Law. Research interests: British and American Literature, and Children’s Literature. E-mail: 13206679@qq.com.
Received: 01 Mar 2026 / Revised: 14 May 2026 / Accepted: 07 Jun 2026 / Published online: 30 May 2026 / Print published: 30 Jun 2026.
