「下層階級站到舞臺前」：海外保釣運動中的業餘話劇（1971-77）

Abstract

話劇改編是1970年代海外保釣運動在藝文方面的主要活動。由於保釣運動以反抗帝國主義為主要的政治議程，既有研究多將此一階段的話劇表演視為政治運動的附屬。然而，保釣期間的話劇運動也提出相應的劇論，在創作的實踐中透過對悲劇的重新定義，反思留學生的買辦性格、提出婦女議題等，因此，分析話劇運動有助於我們掌握保釣運動的精神面貌。本文透過現存的話劇劇本、劇評，以及分析「保釣小說」中對海外釣運期間話劇表演的呈現，討論話劇之於臺灣劇場運動史書寫的意義。受到全球1960年代激進思潮的影響，身處1970年代初美中臺關係的巨變之中，海外港臺留學生透過文學作品重新認識中國。其中，通過對曹禺的《雷雨》（1934）、《日出》（1936）等名作進行改編，乃至批判，保釣運動繼承了「五四」以來的問題意識，例如階級與宿命的辯證、女性的獨立自主等等，同時也將「五四」的弒父意識嫁接在流寓美國的臺灣留學生家庭上。在「釣運轉統運」後，雖然左派學生在政治立場上認同社會主義中國，然而為了動員海外臺灣留學生的情感，話劇的題材反而轉向以本土議題和海外留學生切身的處境為主，形成形式上認同中國大陸，內容上卻趨向戰後臺灣本土社會的矛盾。最後，透過研究「保釣小說」對「保釣話劇」的再現，本文認為小說家將戲劇前臺與後臺之間的界線改寫為革命與親職之間的衝突，藉此重新探討保釣運動中公領域與私領域的關係。最終，探討海外釣運期間話劇的表演，可以適度彌補1949年以前兩岸劇團的交流至1980年代以後的小劇場運動這兩個時段之間臺灣左翼劇運上的空白。

The staging of Chinese spoken drama (huaju) in the United States was a short-lived yet crucial theatrical movement in the Defending Diaoyutai Movement during the 1970s. Since the Diaoyutai campaign was mainly a political and diplomatic-not literary and aesthetic-movement, scholarship mostly regards spoken drama as a supplement to the political movement. However, although these spoken drama performances were mostly used to mobilize students, they nonetheless developed drama theory. An analysis of the overseas spoken drama movement allows us to better grasp how the Defending Diaoyutai Movement critiqued the comprador character of U.S.-educated intellectuals, and addressed the women question. This study examines the significance of spoken drama in the history of theatre in Taiwan by analyzing the theatrical scripts and reviews in comparison with the fictional representations of theatrical performances. Under the influence of the global sixties" and the fraught triangular relationship between Taiwan (ROC), the U.S., and the PRC, overseas students from Taiwan and Hong Kong began to refamiliarize themselves with modern Chinese history through literary works. Against this backdrop, the adaptation-and sometimes criticism-of Cao Yü's Thunderstorm (1934) and Sunrise (1936), resonated with the major issues passed down from the May Fourth Movement. Moreover, these adaptations transplanted the anti-traditionalist consciousness of the May Fourth onto the Oedipal complex in the overseas Chinese families. As the leftist students of the movement turned to support socialist China, paradoxically, the spoken drama turned to explore issues of local and overseas Taiwanese communities. By comparing the spoken drama with the novels about the Defending Diaoyutai Movement, this essay argues that the novelists use the boundary between the front- and backstage in theatrical performances to symbolize the gendered division of labor during the movement. In so doing, these novels rewrote the front stage as the revolutionary discourse in the public sphere that sometimes encroaches on the private realm embodied by motherhood. In conclusion, an examination of the overseas spoken drama during the Defending Diaoyutai Movement enables us to mend the gap between the periods between 1949, when cross-Strait theatrical interactions ended, and 1980, when the independent theatre movement began."