「戲比天大」的悖論：吳祖光與中國戲曲改革運動

Abstract

本論文以東亞文化研究晚近展開對中國現代化問題中「國民性」、「民族形式」、「民間性」的論述為坐標，擴大闡釋「中國戲曲改革運動」(1951-1967)的研究文獻。並重新定位被喻為中國的田納西威廉斯、劇作家吳祖光(1917-2003)的思想與作品。 全文分作三章分析吳祖光七部舞台劇作包含《鳳凰城》(1937)、《風雪夜歸人》(1942)、《牛郎織女》(1942)、《少年遊》(1944)、《嫦娥奔月》(1947)、《三打陶三春》(1962)、《闖江湖》(1979)。並分作三個主題，交叉對照相關史料，探討他的戲劇理論(一)城市風情劇與學生運動的關係；(二)戲班改革對演員職業價值形態的影響；(三)新編歷史劇與歷史敘事背後，吳祖光特殊的「戲迷主義」及其精神形態。 本文要探討的是，一個劇作家，如何回應了中國現代化進程中的掙扎，並如何遭遇「民族」、「話劇」、「戲曲」三角結構中的抗衡與矛盾。本文指出，民間藝人「戲比天大」的吶喊，不僅代表了認識型構的扭轉，亦為一種的精神形式，通過上述三個面向，展現在吳祖光的親身參與之中。作為重探中國戲曲改革運動之結論，本文指出，伴隨戲改運動的發展初期，韓戰期間，中國底層社會與日本相似，皆歷經了它者缺席之感。並曾一度閃現過法西斯狂熱的現象。而當代中國之文化治理與集體意識，實與上述面向有所繼承。

Developed from discourses on “national character”, “national style” and “folk character” in current Chinese Modernity issues of East Asia Studies, this dissertation expands the literature reviews of “the Movement of Chinese Opera Reform”(1951-1967). It relocates the plays and thinkings by Zu-Guang Wu (1917-2003), a Chinese playwright, regarded as the Chinese Tennessee Williams. Divided into three chapters, this dissertation analyses seven plays by Wu, <The Phoenix Town>(1937), <Return On A Snowy Night>(1942), <Cowherd and Girl Weaver>(1942), <The Journey of Young Men>(1944), <The Goddess Chang's fly to the Moon>(1947), <Tao San-Chun’s Marriage>(1962), <The Traveling Troupe>(1979); and shapes into three perspectives, (1) the relations between urban romance and student movement, (2) the effects of troupe reformation onto the value-form of actor’s career identity, (3) the psyche of Wu’s “Fans-ism” behind new chronicle plays and historical narrations. It explains, as a playwright, how did Wu response to the struggle of Chinese modernization, and how did he encounter certain intensity and paradox under the triangular structure of “nation”, “prose drama” and “Chinese opera”. And it argues that the scream of “Nothing Is Greater Than the Show” from the folk artists presented by three perspectives as above in Wu’s participation, is not only an epistemic turn, but also a psychic form. It concludes as a retreat on “the Movement of Chinese Opera Reform”, that during the Korean War, along with the beginning of Opera Reform Movement, the underclass in Chinese society suffered certain sense of dismiss of the Other, as well as Japan; and there was once upon a flash of Fascistic fanaticism appeared; these aspects are inherited by contemporary Chinese cultural governance and the collective consciousness.