兩個版本的《卲江海》：戲劇史的書寫政治

Two Versions of Shao Jiang-hai: Politics of Theatre Historiography

卲江海（1914-1980）出生於廈門，為歌仔戲發展史上的重要人物。廈門市歌仔戲劇團演出製作的《卲江海》，敘述年輕的卲江海對歌仔戲的熱情，以及他如何在中日戰爭期間創造出影響歌仔戲音樂的雜碎調（都馬調）。這齣戲在2002年首演之後，即經歷多次修改。本文主要檢視它在2002/3年以及2005年間的兩個文本（此分析文本合併劇本及演出本）在敘事上的轉變，探討歌仔戲史在這修改的過程中，如何巧妙地被挪用，而歌仔戲的起源流布在第二版的敘事中也產生了質變。歌仔戲身為唯一「臺灣製造」的劇種，在兩岸統獨意識形態高漲之際，大陸的歌仔戲演出（representation）如何體現戲劇史在中國大陸的書寫政治，並反映了中國民族主義意識形態。

This paper discusses a contemporary play, Shao Jiang-hai, by the Xiamen Gezaixi Troupe. Shao Jiang-hai (1914-1980), born in Xiamen, is widely considered to be an important figure in the development of gezaixi’s music. The play tells the story of the young Shao Jiang-hai, his passion for gezaixi, and how he created the influential tune dumadiao during the Sino-Japanese war. The play has undergone several major modifications since its debut in 2003. This paper particularly focuses on the changes in its narrative from the 2002/3 version to the 2005 version. The two versions, with seemingly similar stories, convey drastically different messages. It explores what the process of the revisions reveals, namely, how the trajectory of gezaixi’s origin and its cross-strait dispersal was re-delineated, from a Taiwanese origin to a mainland origin. I examine the politics of gezaixi theatre historiography in the People’s Republic of China at a time when the dispute over Taiwanese sovereignty dominated the cross-strait interactions.