梅蘭芳1935年赴蘇聯巡演期間與斯坦尼斯拉夫斯基會面,此后斯氏關于中國戲曲表演的"評價"對中國學界關于中國戲曲藝術的理解和評價等相關議題方面產生了深刻而持久的影響。通過對相關檔案材料及同時代實錄資料的廣泛研究,探究構成二十世紀國際舞臺上這一歷史性跨文化時刻的相關歷史事實和情境,并對這一非同尋常的跨文化歷史現象的建構進行解構,揭示其政治和意識形態基礎,闡明其戲劇和藝術的定位與置換問題。為促進當今學界對中國戲曲藝術的歷史理解,以及在更大范圍內,對二十世紀以來全球跨文化戲劇的歷史理解,有必要對這個跨文化戲劇神話的產生和建構進行解構。

The contact between MEI Lanfang and Stanislavsky during MEI’s 1935 tour in the Soviet Union and Stanislavsky’s often-cited ’appraisal’ of the acting of traditional Chinese Xiqu have exerted a profound and lasting influence on the Chinese understanding and evaluation of the art of their traditional theatre.Through extensive research into the related archival material and the contemporary records,this article investigates the historical facts and circumstances that underlay this intercultural moment of historic importance on the international stage of the twentieth-century.It unweaves the historical construction of this remarkable intercultural phenomenon and exposes its political and ideological underpinnings as well as its theatrical and artistic placement and displacement.In addition,it underscores the necessity of deconstructing the creation of such an intercultural myth for today’s historical understanding of the art of traditional Chinese Xiqu and,by implication,in a larger context,of the global making of twentieth-century intercultural theatre.