戲劇的演出、傳播與政治鬥爭——以《怒吼吧，中國！》及其東亞演出史為中心

Theatre’s Performance, Circulation and Political Struggle –Focusing on the History of the Performance of Roar China! in East Asia

《怒吼吧，中國！》是蘇俄作家特列雅科夫（Sergei Tretyakov，1892-1939）就發生在四川萬縣的國際性衝突事件改編的劇作，一九二六年在莫斯科梅耶荷德劇場首演。劇中受害者是中國人民，侵略者是英國海軍與美國商人，但它所披露的壓迫者與被壓迫者，不限於國家或民族之間，也包括階級的矛盾、衝突。《怒吼吧，中國！》首演後迅速被輾轉翻譯成不同語文版本，在許多國家陸續上演。即使同一個國家、同一種語文，也有多種版本與不同劇名。單從這齣戲流傳及其翻譯過程，顯現它在不同政治時空的複雜性，並因主觀意識或演出目的迭有修改。尤其中日戰爭期間，《怒吼吧，中國！》演出機會減少，卻又在太平洋戰爭爆發後，大東亞共榮圈的南京政府、殖民地臺灣接連演出這齣戲，而與《怒吼吧，中國！》首演有關的特列雅科夫、梅耶荷德在一九三九、四○年先後死於政治鬥爭，這齣戲在蘇俄人亡劇息。然而，作為戲劇為政治服務的舞台劇，卻在東亞留下較多的痕跡。其間的詭異多變，在世界戲劇史上殊為少見。《怒吼吧，中國！》的政治宣傳性、煽動性藉著劇場表現的時空效應究竟為何？而不同時空的政治是如何操作這齣戲的演出？在在令人好奇。本論文嘗試從政治劇場的角度，較全面探討《怒吼吧，中國！》在蘇聯與東亞的舞台流變史，及其所受政治大環境的影響與互動，並以此劇作為戲劇在演出、傳播與政治鬥爭中的具體實證。

Roar China! is a play by the Soviet writer Serge Tretyakov (1892-1939) based on the international incident that occurred in Sichuan’s Wan county; it premiered in 1926 in the Meyerhold Theater in Moscow. The victims are the Chinese people, the aggressors are the British Navy and an American merchant, yet its exposure of the oppressors and the oppressed is not limited to country or nationality, but also includes class contradiction and conflict. After its début, Roar China! was rapidly translated into various languages and was successively staged in various countries, with various versions and titles known even within single countries and languages. This play's circulation and translation processes alone reveal its complexity under different political times and circumstances, as it was subjectively adapted to fit performance objectives. There were fewer opportunities to perform Roar China! especially during the Sino-Japanese War, but after the outbreak of the Pacific War, the Nanjing Government under the control of the Greater East Asia Co-Prosperity Sphere and colonial Taiwan successively staged this play. Tretyakov and Meyerhold, involved in the premier of Roar China!, died in political struggles in 1939 and 1940, marking the end for this play in the Soviet Union. Yet, as theatre at the service of politics, the play left many traces in East Asia. Its many peculiar transformations during that time are rarely seen in world theatre history. What kind of impact have Roar China!’s political propaganda and instigation had in terms of dramatic time and space? How do politics in different times and circumstances operate this play’s performance? Using this play as a concrete example of theatre’s performance, circulation and struggle with politics, this paper attempts, from the perspective of political theatre, to rather fully explore the history of the theatrical evolution of Roar China! in the Soviet Union and East Asia as well as the influences from, and interactions with, the broader political context.