如何「導演」中國？——以一八三○年代法國演出的《少康》和《成吉思汗》為例

How was China ''Mise en Scène''? -Examples of Chao Kang and Dgenguiz-Kan Performed on French Stage of the 1830s

本文檢視「導演」（metteur en scène）作為劇場專門職務以前，於一八三○年代初生的導演（mise en scène）概念。「導演」一詞的法語原意為「場面調度」，亦即在有限劇場空間裡調度劇作家與藝術家的無限戲劇想像。縱橫古今的歷史故事、跨越東西的異國時空或許是最能提供「導演」發揮的題材，而報刊媒體與劇評在十九世紀的興起及其在公眾領域的討論，則又一定程度參與或介入戲劇場面調度的意見，甚至在演出期間影響劇本的編寫形式或內容，並且記錄了戲劇實際演出的經過，成為今日了解戲劇史與戲劇觀念變遷不可或缺的第一手材料。準此，本文嘗試以十九世紀《少康》（1834年巴黎首演）、《成吉思汗》（1837年巴黎首演）兩齣以中國為題材的法國大型戲劇制作為例，一方面藉由劇評拼貼還原當初的演出經過與制作細節，進而了解「導演」在其時的實踐|另一方面，本文也將藉由劇評、劇本與演出的對照，說明觀眾的意見如何通過劇評介入戲劇實際的呈現樣貌，進而在「前導演」時代（乃至「前全球化」時代）的法國舞臺上，共同「導演」了門戶開放前夕的遠方「中國」。其影響不僅限於一時的受眾群體之間，更可能影響了整個十九世紀法國戲劇與大眾話語裡的中國形象與想像。

This paper aims to survey the emergence of the concept of ''mise en scène'' which can be retraced to the 1830s, much earlier before the appearance of the director (''metteur en scène'') as a profession in the end of the nineteenth century. The term ''mise en scène'' suggests the conceptualization and the visualization of playwright's and artist's unlimited imagination within a limited space on the stage. Historical events and exotic elements are probably ideal materials for the experiments of ''mise en scène.'' In addition, the development of the theatre critic and the mass media in public life allow the audience to participate in the discussion of the ''mise en scène'' of each play. In this paper, I will take two plays inspired from Chinese history - Chao Kang (1834) and Dgenguiz-Kan, ou La conquête de la Chine (1837) - as examples to understand how the French theatre represented China on the theatre stage in the 1830s. I will consult theatre critics to examine details of the production, and attempt to explore the practice of the ''mise en scène'' in these two plays. I will also compare the text, theatre reviews and the performances in order to explain how the ''mise en scène'' intervened with the representation of China on the stage. The influence of the ''mise en scène'' of China may extend to the end of the nineteenth century and helps to shape the imagery and imagination toward China.