從娜拉到毛夫人－－圖像、生活扮演和性別論述

From Nora to Madam Mao: Pictures, Daily Performance and Gender Discourse

1935年在中國被藝文界稱為「娜拉年」，因為數個大城市都有劇團製作演出易卜生的名劇《玩偶之家》（往往被重新命名為《娜拉》）。當時沒沒無聞的女演員李雲鶴，初到上海改名為藍蘋，應一左翼劇團之邀首度扮演女主角娜拉。該演出非常成功，藍蘋一夕成名，更因此踏入在中國開始發展的電影業。幾年後她改名為江青，並成為毛夫人，以另一個角色為世人所記憶。從1935到1937年，報紙的影劇版和電影雜誌經常刊登有關藍蘋的報導和照片。藍蘋的圖像和文章總是呈現一個現代女性的形貌，自信又吸引人─象徵著中國的娜拉。這樣的形象與江青後來在延安時期、50年代和文革期間的照片迥然不同。

In China 1935 was known as 'the year of Nora' with Ibsen's A Doll House (often re-titled as Nora) being produced in major cities throughout the country. An unknown actress, Li Yunhe, who had come to Shanghai and changed her name to Lan Ping, played the title character, Nora, at the invitation of a left-wing theatre company. The success of Nora not only launched Lan Ping from obscurity to fame overnight, but enabled her to explore the new territory of the film industry. Several years later, she changed her name again, this time to Jiang Qing and shortly became Madam Mao, a role that most people remember her. From 1935 to 1937 , reports about Lan Ping, often accompanied by photographs, frequently appeared in the theatre sections of newspapers and film magazines. The photographs of Lan Ping as herself invariably present a modern woman, confident and yet attractive, a symbolic Chinese Nora. This image of Jiang may surprise those who know her only as Madam Mao through the photos taken of her in the Yan'an period (1937-1947 ), in the 1950s, and during the Cultural Revolution (1966-1976).