在湯顯祖-莎士比亞文化高峰論壇上的專題報告

中共遂昌縣委副書記　縣長　張曉強

尊敬的戴安娜·歐文會長，卡薩齊專員，各位領導，各位專家，女士們，先生們：

下午好！

也許是歷史的機緣巧合，16世紀末期，東西方出現了兩位偉大的劇作家，即英國的莎士比亞和中國的湯顯祖，他們不僅在同一年仙逝，而且在同一年被聯合國教科文組織列為世界百位歷史文化名人。今天，源于對兩位大師的緬懷，我們相聚在遂昌，共同為傳承、弘揚兩位大師的文化精神而努力。下面，我代表中共遂昌縣委、遂昌縣人民政府對湯顯祖，以及這些年我們在傳承、弘揚湯顯祖文化工作中所取得的成績和付出的努力作個簡單的介紹。

湯顯祖（1550—1616），是中國明代著名的文學家、戲曲家。他的詩文和劇作在我國文學史上具有重要的影響，其代表作《牡丹亭》一直享譽文壇，馳名中外。湯顯祖與遂昌有著十分深厚的歷史淵源，在他一生十五年從政生涯中，有三分之一時間是在遂昌度過的。在任期間，他勤政愛民，興教辦學，勸農耕作，滅虎除害，深受遂昌人民的愛戴。湯顯祖也十分喜愛遂昌的山水和百姓，曾稱遂昌為仙縣，自稱是仙令?！吧揭睬?，水也清，人在山陰道上行，春云處處生；官也清，吏也清，村民無事到公庭，農歌三兩聲”正是當時社會生活的生動寫照。

“留得山城遺愛在，迎春歲歲入歌謠?！彼觳龑@祖和《牡丹亭》的研究由來已久，我們以“湯顯祖世界文化名人、《牡丹亭》世界文化名著、昆曲世界文化遺產”為依托，不遺余力地打造湯顯祖文化品牌，取得了明顯成效。建成遂昌湯顯祖紀念館；制定出臺《遂昌縣湯顯祖文化發(fā)展規(guī)劃》；成立遂昌民間文化藝術傳承中心；成立中國戲曲學會湯顯祖研究分會，舉辦湯顯祖國際學術研討會；舉辦三屆“湯顯祖文化”節(jié)；跟湯顯祖有直接淵源的民俗“班春勸農”和傳統音樂“昆曲十番”雙雙入選國家級非物質文化遺產名錄，以《牡丹亭》為代表劇目的昆曲藝術列入世界級非物質文化遺產名錄；與英國斯特拉夫德艾文學院簽定合作備忘錄，達成共同舉辦2016年莎士比亞和湯顯祖逝世400周年紀念活動意向。如今，遂昌已成為傳播和推廣湯顯祖文化的中心和基地，湯顯祖文化得到了前所未有的關注和研究。正是因為湯顯祖文化的催化，遂昌縣域經濟正日益迸發(fā)出旺盛的生機和活力。

我們將湯顯祖文化與遂昌人文景觀、自然山水資源有機整合，全面推進和發(fā)展遂昌文化旅游產業(yè)，并開發(fā)一系列“湯顯祖文化”旅游產品，使之成為遂昌縣第三產業(yè)新的經濟增長點。經濟的發(fā)展，同樣為文化繁榮打下了堅實的物質基礎。我們以實施培育特色文化品牌工程、文化研究工程、文化保護修葺工程、文化陣地建設工程、文化產業(yè)促進工程、文化傳媒建設工程、提升公民文明素質工程等“七大工程”為重點，大力發(fā)展具有遂昌特色的先進文化，縣域文化軟實力不斷增強。

湯顯祖與《牡丹亭》是遂昌的驕傲，弘揚湯顯祖文化，是歷史賦予遂昌人民的光榮使命。今后，我們將以《湯顯祖文化發(fā)展規(guī)劃》為藍圖，按照保護和發(fā)展并舉、山水和文化共融、規(guī)劃和理念先行的原則，依托“湯顯祖世界文化名人、《牡丹亭》世界文化名著、昆曲世界文化遺產”這三大世界文化品牌，通過學術研究活動、遺跡修葺和復建、文化藝術活動、湯顯祖文化旅游等構筑“湯顯祖文化”支柱體系，循序漸進，加快形成立體的遂昌大文化發(fā)展格局。

一是著力推進湯顯祖文化的傳承發(fā)展。在學術研究方面，充分利用“《牡丹亭》原創(chuàng)圣地”這一品牌，全力打造湯顯祖文化研究中心和晚明文化研究中心，構筑起一個溝通、交流和展示研究成果的平臺，使遂昌真正成為海內外“湯學”研究者、愛好者關注、研究和紀念湯顯祖的一大基地。在遺跡修繕和復建方面，堅持“保護為主、搶救第一、合理利用、加強管理”的文物保護方針，重視湯顯祖遺跡及古建筑保護與復建，在遂昌縣城內建設以湯顯祖文化為內容的建筑小品、城市雕塑、主題公園，營造湯顯祖文化氛圍，提升城市文化品位。在文化活動方面，充分發(fā)揮遂昌民間文化藝術傳承中心的作用，積極開展班春勸農、昆曲十番、《牡丹亭》折子戲等文化藝術活動，在滿足廣大人民群眾日益提高的文化生活需求的同時，也成為打造遂昌湯顯祖文化的基礎和原動力。

二是著力推進文化與產業(yè)的融合發(fā)展。圍繞仙縣文化旅游品牌打造，不斷探索和深化節(jié)慶文化常態(tài)化、傳統文化產業(yè)化、群眾文化職業(yè)化，以湯顯祖文化為主線，以農耕文化、紅色文化、黃金文化、竹炭文化、民俗文化等為支撐，以項目化、市場化為導向，積極辦好以農事活動、民俗文化、經濟產業(yè)等為內容的各類特色節(jié)慶活動，加快文化與產業(yè)的融合，進一步促進文化惠民，著力打造“健康、快樂、休閑”的遂昌。比如，在保護與傳承湯顯祖文化的基礎上，著力開辟湯顯祖文化旅游，使參觀湯顯祖紀念館、欣賞戲曲演出、聆聽十番古樂、走進遂昌古跡、探尋地方民俗文化、品嘗湯公美食成為一個整體，加快推進特色文化旅游產業(yè)的發(fā)展。

三是著力推進文化交流，實現共贏發(fā)展。要集中力量打造“湯顯祖文化共同體”，在與湯顯祖出生地江西省撫州市臨川區(qū)、《牡丹亭》故事發(fā)生地江西省大余縣、湯顯祖貶官地廣東省徐聞縣結為友好縣市的基礎上，進一步加強文化交流與往來，促成“三省四地”共同弘揚中華民族優(yōu)秀傳統文化，不斷擴大湯顯祖文化的影響力和知名度；要集中力量加快湯顯祖文化“走出中國、走向世界”的步伐，以中英人員互訪、學術交流合作為契機，深入開展交流與合作，加快推動遂昌與斯特拉夫德締結友好城市的步伐，全力做好湯顯祖和莎士比亞兩位世界文化名人逝世400周年紀念活動。

緬懷先哲祈盼絕響有繼，傳承文化中英共譜華章。

各位領導、各位專家，女士們、先生們，文化是民族的，也是世界的，任何一個國家都應當積極推動本民族的優(yōu)秀傳統文化更好地走向世界，提高其國際影響力。隨著莎士比亞和湯顯祖去世400周年時間日漸臨近，我愈發(fā)感到緬懷和傳承兩位大師及其文化的意義和價值。在這里，我想引用中國已故著名湯學專家徐朔方先生的一句話作為結束：“我深信只有對自己民族文化具有不可動搖的自豪感的人，才能充分評價別民族的偉大成就而不妄自菲薄。一個最有信心的民族也一定最善于向別的民族學習，而不驕傲自滿?！币皇潜磉_對徐老先生的懷念，感謝他為弘揚湯顯祖文化所做的巨大貢獻；二是想表達一種信心，抒發(fā)一種愿景，希望兩地以文化為媒，進一步擴大交流，深化合作，攜手共進，共創(chuàng)輝煌。

A Special Report

for Summit Forum on Tang Xianzu-Shakespeare Culture

Zhang Xiaoqiang, County Magistrate

Deputy Secretary of Chinese Communist Committee of Suichang County

Respected Chair Ms. Diana Owen, Mr. Casacchi, all the Leaders, Experts, Ladies and Gentlemen:

Good Afternoon!

Maybe it was a coincidence in history that two great playwrights arose in the East and West worlds in the late 16^th century. They were Britain’s Shakespeare and China’s Tang Xianzu.　Not only they passed away in the same year, but also were listed among the 100 world cultural celebrities by United Nations Educational, Scientific and Cultural Organization (UNESCO). Today, in reminiscing these two great masters, we are gathered together in Suichang to commemorate their cultures and spirit. Now on behalf of Chinese Communist Committee of Suichang County and the People’s Government, I would like to introduce Tang Xianzu and the achievements we have made to promote and develop Tang Xianzu Culture in recent years.

Tang Xianzu (1550—1616) was a famous litterateur and dramatist in the period of the Ming Dynasty in China. His poems and dramas inserted an important influence upon Chinese history of literature. His masterpiece The Peony Pavilion gained literary fame at home and abroad. Tang Xianzu had a very close relationship with Suichang. In one thirds of his 15 years of political life, he lived in Suichang. During his administration, he held benevolent policies to his people, encouraged farmers to work in the fields, set up schools to educate the local people, protect his people from mountain tigers. He was deeply loved by Suichang people. Tang Xianzu also devoted deep feelings to Suichang mountains and water and his people.　He called Suichang a fairyland and entitled himself as the governor of the fairyland county. Here is the poem which vividly reflects the social life of the time:

“Green are mountains,

Clean are waters,

Walking on small mountain paths,

You are surrounded by spring clouds.

Honest is the governor,

Clean are the officials

Villagers popping around the government court

With no sues but farming songs.”

“The Mountain Town witnesses the people’s love,

Every spring is welcomed by folk songs.”

Suichang has a history of the researches on Tang Xianzu and his The Peony Pavilion. And with his fames as a world cultural celebrity and his famous masterpiece of world culture The Peony Pavilion, we have been taking great efforts to forge the brand-name of Tang Xianxu Culture and achieved effective results. Suichang Tang Xianxu Memorial Hall was built; Suichang Development Plans for Tang Xianzu Culture was made; Suichang Center of Folk Culture and Arts was established; Tang Xianzu Research Society of Chinese Drama Association was set up; International Symposiums on Tang Xianzu were held; three Festivals for Tang Xianzu Culture were organized. The local custom “Spring Farming Encouragement” and folk music “Kun Opera Shi Fan” both entered into the protection list of National Intangible Cultural Heritage, and Kun Opera represented by the play The Peony Pavilion was listed as a World Intangible Cultural Heritage. We signed the Memo of Cooperation with Stratford-upon-Oven College in Britain and reached an Intent to jointly hold the 400^th anniversary of Shakespeare and Tang Xianzu in 2016. Today, Suichang has become a center and base to popularize Tang Xianzu Culture, which attracts great attentions and studies. It is under such an impetus that the economy around Suichang County is showing its vigor and vitality.

We integrate Tang Xianzu Culture with Suichang man-made landscape and natural resources of mountains and water to develop Suichang cultural industry and tourism. We open up a series of tourist products of “Tang Xianzu Culture” which becomes a new economic growth of the tertiary industry in Suichang County. Its economic development lays a solid material basis for cultural flourishing. By activating such key projects as cultivation of distinctive brand-names, cultural researches, culture preservations, construction of culture fronts, promotion of culture industry, construction of mass media, and upgrading the moral standards for its residents, we fully have developed an advanced culture with Suichang distinctions and are strengthening our cultural power in and around the county.

Tang Xianzu and his The Peony Pavilion are the proud of Suichang. It is a glorious mission for Suichang people to promote Tang Xianzu Culture. We have made an blueprint according to the Developing Plan of Tang Xianzu Culture. Following the principles of “emphasizing both protection and development, coexistence of culture and nature, publicizing plans and ideas”, based on our three world cultural brand-names, i.e., World Cultural Celebrity Tang Xianzu, World Cultural Masterpiece The Peony Pavilion, and World Cultural Relics Kun Opera, we use academic researches, preservations of historic relics, cultural and artistic activities, and tours of Tang Xianzu Culture to form step by step a system of Tang Xianzu Culture, and to speed up the lay-out of Suichang cultural Development.

First, to promote the cultural inheritance and development of Tang Xianzu Culture. In academic researches, we shall take full advantage of the brand-name – the original shrine of The Peony Pavilion, to construct the research centers of Tang Xianzu Culture and Late Ming Culture, to provide a platform for communication, exchange and exhibition of research achievements, and make Suichang a great base for researchers and scholars to study and commemorate Tang Xianzu. In preservation and repairing, we adhere to the principles of preservation of cultural relics, i.e. “Protection, Rescue, Rational Use and Effective Management”, to attach great importance to Tang Xianzu’s relics and to preserve and repair ancient buildings. Within the downtown areas of Suichang county, we shall construct buildings, sculptures, theme parks to create an atmosphere of Tang Xianzu Culture and to raise the quality of city culture. In cultural life, we shall make the best use of the Suichang Folk Culture and Arts Center to organize such cultural and artistic activities of　Spring Farming Encouragement, Kun Opera Sanfan, the Play The Peony Pavilion, etc., so as to meet the rising needs of the people in their cultural life and to forge the base and motive force of Suichang Tang Xianzu Culture.

Secondly, to promote the coordinate development of culture and industry. We shall forge the brand-name of the fairyland culture tourism and further develop festival culture, traditional culture industry, mass culture. We take Tang Xianzu Culture as the paramount culture, supported by other cultures of farming, Red revolutions, Gold Mine, Bamboo charcoal and folklore, to organize distinctive festival activities of agriculture, local culture and economic trades through marketing and projecting. In this way, we speed up the coordinate development of culture and industry, further enhance the people’s benefits from culture, and make Suichang a “healthy, happy and leisure” county. For example, in the base of inheritance and preservation of Tang Xianzu Culture, we take efforts to open up Tang Xianzu Culture Tours which combine

such activities as visiting Tang Xianzu Memorial Hall, watching plays, listening Shi Fan Classic Music, discovering Suichang relics, searching folklore, eating Tang’s fine food, and to speed up the development of our distinctive culture tourism and industry.

Thirdly, to promote cultural exchanges and win-win growths. We shall concentrate our efforts to build “Tang Xianzu Culture Community”. We shall strengthen cultural exchanges and sister-relationships with the Lingchuan Region of Fuzhou City in Jiangxi Province (Tang Xianzu’s birthplace), Dayu County, Jiangxi Province (the original shine of the story The Peony Pavilion), and Xuwen County in Guangdong Province (the place of Tang Xianzu’s demotion), jointly advocating the fine traditional culture of Chinese people in “the four locations in the three provinces” and expanding the influence and popularity of Tang Xianzu Culture. We shall concentrate our efforts to speed up the publicity of “l(fā)etting Tang Xianzu Culture known in China and in the World”. Through exchange visits, academic exchanges and cooperation between Chinese and British peoples, we shall promote the sister-city relationship between Suichang and Stratford-upon-Oven, and prepare to the best of our ability the 400^th anniversary of the two world cultural celebrities Tang Xianzu and Shakespeare.

Commemorating ancient sages, we expect excellent followers; Promulgating cultures China and Britain together write new chapters.　Respected leaders and experts, Ladies and Gentlemen, Culture is national as well as international. Any country will actively develop its excellent traditional culture and let it known to the world, so as to raise its international influence. With the 400^th anniversary of Tang Xianzu and Shakespeare is drawing near, we deeply feel the importance and value to commemorate the two great masters and their cultures. Now I would like to conclude my report with a remark by Xu Shufang, a Chinese famous expert of Tang Xianzu Studies: “ I deeply believe that only those who have indestructible faith in their own national culture can fully evaluate other nations’ great achievements without being conceited or belittling themselves. A nation with self-confidence is surely good at learning from other nations without conceit and complacency.” In this way, I commemorate Mr. Xu and his great contributions to advocate Tang Xianzu Culture; Secondly I would like to express a confidence, a hope that in developing cultures our exchanges and cooperation will be further expanded, to advance towards and build a brilliant future together.

Shakespeare ＆ Stratford: Cultural Relevance in the 21^st Century

By Dr Diana Owen

Director, Shakespeare Birthplace Trust,

Stratford upon Avon

Why is Shakespeare so popular worldwide and how has that impacted his hometown of Stratford upon Avon in the United Kingdom? These two questions are inextricably linked and this paper will examine that relationship and consider how Shakespeare and Stratford are continuing to develop over 400 years after the writer’s birth and the significance of universal cultural value in the twenty first century.

It was not until nearly 100 years after Shakespeare’s death in 1616 that the first pilgrims started to come to Stratford. The development of the town as a literary shrine was a gradual process which depended on a number of cultural, social and technological developments in the 18^th and 19^th centuries. There were four key components that needed to be in place to establish Stratford as a literary shrine:

● widespread recognition of Shakespeare’s genius

● information about his many links with Stratford needed to be disseminated and known

● ease of travel to the town

● creation of a social climate that valued visiting historic sites as a leisure pursuit.

For the first 100 years after 1616, the potential size of Shakespeare’s readership was limited by the cost and relatively modest number of his works in print, by low literacy levels and an educational system that did not embrace ‘modern’ literature. No biography existed that might give an account of his family background and thereby generate a curiosity about the places in which he lived and worked. Travel was slow and arduous and people did not travel for pleasure.

At first for those that did come to Stratford to seek Shakespeare, their interest was exclusively concentrated on the Church where he is buried. This was a public building and therefore open to the public. At that time the small number of people that were interested in places associated with the famous was attracted to where they were buried, rather than to where they were born – especially, as in Shakespeare’s case, an epitaph and a portrait bust were also present in the church. About 150 years after Shakespeare’s death we begin to see more and more accounts of visits to his birthplace, and to the other sites in Stratford associated with him. There was uproar in the town when New Place, the house that Shakespeare had bought and lived in for the last 16 years of his life, was pulled down reflecting the growing awareness in the town of Shakespeare’s significance and value.

This growing recognition coincided with new editions of Shakespeare’s works which made Shakespeare a widely read author for the first time and established him as a classic and important writer. Alongside this, Shakespeare’s biography began to be recorded, publicised and sought. By the late 18^th century, the first printed image of the Birthplace appeared and an article on the house.

There was also a growing interest in historical studies and especially those that validated a sense of national supremacy. Shakespeare began to be seen as representing all that was glorious about the world of English literature and his statue was erected in Westminster Abbey, London.

Even more importantly, the most famous actor of his time, David Garrick was hugely responsible for popularising Shakespeare and making him into a cult figure; in 1759 Garrick united the build up of interest which had been gathering by staging his famous Shakespeare Jubilee or Festival. This one event did much to promote and to establish Stratford as Shakespeare’s town.

The Festival included three days of celebrations in the town, attended by many from London and even further away and this was only made possible by the improvement of the roads which enabled coaches to bring large numbers to the town. The coaching age also encouraged a fashion for taking tours to visit historic sites and landscapes – especially those associated with famous figures from the past.

In 1812 a visitor book was started at Shakespeare’s Birthplace and in 1813 and 1814, the visitor books record 700 people each year signing the book. The numbers of visitors grew steadily and by the early 1850’s there were 2,500 every year. It was not until the 1900’s that the number exceeded 30,000 per annum. The coming of the railway led to a great increase in the numbers and diversity of visitors – not just the affluent, but also the middle class and day trippers from local conurbations.

The gathering pace of industrialisation also led to a growing movement to safeguard historic buildings and notable landscapes. There was an increasing sensitivity to preserving the past at a time of rapid change which led to legislative protection being introduced and the founding of bodies such as the Shakespeare Birthplace Trust. In Stratford the second half of nineteenth century saw a concerted effort to preserve the town’s Shakespearian heritage inspired by the view that Shakespeare was a national treasure who commanded the attention of the civilised world.

In 1847 Shakespeare’s birthplace was purchased as a national memorial after a national campaign – Shakespeare had become the nation’s poet and the embodiment of British pride, a unique cultural asset exportable worldwide. With the growth of literacy and educational opportunity, many homes boasted a copy of Shakespeare’s works alongside the Bible. The spread of the English language and British political engagement worldwide created the conditions for the further reach of Shakespeare’s works to new international audiences.

Responsibility for the Birthplace passed to the Shakespeare Birthplace Trust in the 1850’s and further moves were made to protect other Shakespearian sites – New Place, his last home in Stratford and where he had died and Anne Hathaway’s Cottage, his wife’s family home. Today we are fortunate　that so much of his physical legacy survives virtually intact – the home of the glove maker and mayor under whose roof he grew up, the school room that he almost certainly learnt in, the chapel in which he said his prayers with his schoolmates, the hall where he saw his first play, the farmhouse where his future wife lived, the church where he and his children were baptised, whose services he attended and where he was buried, the garden that he bought, the bridge that he crossed on his many journeys from London. It is a unique assemblage of buildings associated with a writer from the sixteenth century.

But the real growth in numbers of visitors that happened in the twentieth century was made possible by the transformation of transport – cars, buses, passenger ships and then aeroplanes –all making it much more possible to visit this small rural market town. In 2010 the Birthplace welcomed its 25^th millionth visitor and we have about 760,000 visitors to the five houses every year, half of those from outside the UK. Our guide book is now available in 7 languages, including Mandarin Chinese which is the fastest selling of all the foreign language versions.

In the 21^st century we face a number of challenges and one of those is the need to change internally to recognise how our relationship with our audiences has shifted fundamentally. Museums and institutions have to change continually and increasingly be informed by their audiences – preserving and collecting can no longer be an end in itself. A recent definition of the role of museums said that:

英國莎士比亞出生地基金會會長戴安娜·歐文在“湯顯祖-莎士比亞文化高峰論壇暨湯顯祖和晚明文化學術研討會”上發(fā)表主題演講

‘a museum should be capable not only of speaking, but also of listening to its audiences…. It is, ultimately, a museum which values as ‘heritage’ not only objects or collections, but first and foremost individuals and the richness they embody: stories, ideas, emotions, desires, fears and hopes.’

To do this, we are transforming our presentation of Shakespeare in the houses and on-line and will engage with our audiences in a truly participative framework. At the Birthplace we will increasingly celebrate its role as a global cultural meeting place that enriches lives by exploring universal cultural values through Shakespeare’s works. Creativity and an appetite for knowledge will be encouraged through exploring the contemporary relevance of Shakespeare’s works in partnership with writers, artists, and wide-ranging audiences worldwide.

Essentially we recognize that we are in the people business – we are about people and their responses to Shakespeare.　And we know that people no longer want to be talked at or even to – they want to share the conversation, be part of the dialogue, have their views heard and their experiences valued equally. This also means that we will celebrate other writers, Shakespeare’s contemporaries and those that have been influenced by Shakespeare’s works over the last 400 years. For in this way we can reach even wider audiences and draw the links between one writer or artist and another.

Neither Shakespeare nor Tang Xianzu knew of the others’ existence; the worlds in which they wrote could not have been more different in their geography, economic and political structures. Yet each playwright is remarkable, not only for the admired aesthetic qualities of their individual works, but because both have enjoyed a cultural after-life.

The exceptional open-endedness of Shakespeare’s works, their scope for multiple interpretations and their capacity for adaptation in the multiple forms, languages and technologies of the modern age has ensured their continuing longevity and relevance. The cultural landscape that we work in now is truly globalised especially through the internet and the emerging technologies of social media.

The modern connection between the two playwrights is that both represent the cultural resources that are deployed in their respective nations’ ideas of a national culture; both were disseminated in print and in changing forms of theatre and both have a rich history of transmission that has created myths through which their plays are read in the present day.

And it is the enduring appeal of Shakespeare’s plays and poems that have kept generation after generation visiting his hometown as a pilgrimage to a literary shrine.　The seemingly inexhaustible capacity of his plays to give, in all historical periods delight, consolation and insight into so many human dealings, has ensured that the name of Stratford remains synonymous with Shakespeare.

The 400^th anniversary in 2016 of the deaths of both Shakespeare and Tang Xianzu represents a great opportunity to bring these two writers and their audiences together and thereby also bring closer together our two nations and recognise our shared human heritage.