國族、離散、偷渡交互作用下的京劇《滿江紅》

The Whole River Red (Man-jiang-hong) –the Jingju under Nation, Diaspora and Smuggling

本文從國族、離散、偷渡等角度討論范鈞宏、呂瑞明編劇的京劇《滿江紅》劇本，細數文本幾度之挪用改編，闡述此劇在不同世代和不同政治語境中予觀眾的不同感受。首先比較一九六○年在中國大陸由青年演員孫岳主演之首演版，以及隔年前輩名家李少春之重排，分析背後體現的雙重意義：既是「明星挑班制」已轉型為國營劇團，但京劇界輩份倫理仍是牢不可破的觀念，二者相互拉扯，交會於《滿江紅》之第一度改編。而後論及一九八三年臺灣戒嚴時期，此劇竟被「偷渡」至軍中競賽戲，「還我河山」壯烈情懷引發觀眾熱烈回應，但旋即被發現為「匪戲」而遭禁演。二○○○年兩岸交流後中國京劇院帶來李少春版，效果卻不如當年競賽，應與當時臺灣審美思潮轉變有關。二○一二年《滿江紅》出現新版，為突出主角演員，把戲收在風波亭岳飛慷慨就義，刪去岳飛死後的〈牛皋扯旨〉，原劇精義無法完整呈現。本文仔細分析改編效果，更藉此釐清「演員中心」意義，還附帶提出二○○四年臺灣國光劇團推出此劇時的主角心理反應，以為相互參照，重申演員中心的深刻意涵。本論文學術關懷涉及當代京劇史、戲曲編劇學及觀眾接受美學，扣緊國族、離散、偷渡議題，研究材料除文獻之外更大量運用戲曲物質載體。更因筆者個人曾親身參與一九八三年競賽評審全部過程，因而全文雖為客觀論述，也兼採田野調查，自敘自身當年「參與現場」的難得經歷。

This paper discusses the correlation of nation, diaspora and smuggling in The Whole River Red (Man-jiang-hong, 滿江紅) written by Fan Junhong and Lü Ruiming, and analyzes the audience reaction of different generations and the political context in several adaptions. First of all, it compares the premiere in 1960 starring the young actor Sun Yue in China and the revival in the next year starring the senior actor Li Shaochun, to indicate the double meaning behind this phenomenon—“star system” troupe has transferred into nationalized troupe; however, the order of seniority in Jingju is indestructible—and the result is the first adaption of The Whole River Red. Then, in 1983, during the martial law period, The Whole River Red was smuggled into the military drama debate, and within the play the idea “return the country” inspired the audience’s enthusiastic response. Later, this play was defined “communist drama” and prohibited. In 2000, after cross-strait exchanges, China National Peking Opera Company performed the Li Shaochun edition, but the audience reaction was less than the performance at the time of the debate. It can be surmised that there had been aesthetic changes in Taiwan by that period. In 2012, in order to enhance the prominence of the leading role, the new edition The Whole River Red ended with Yue Fei dying a hero's death at Feng-po pavilion. After Yue Fei's death, the scene “Niu Gao Tear Imperial Edict (Niu-gao-che-zhi, 牛皋扯旨)” was deleted; therefore, the soul of the play could not be shown. In the end, the paper analyzes the results of the adaptions, and thereby clarifies the meaning of the term “actor-centered”; moreover, it discusses GuoGuang Opera Company’s edition in 2004. This research concerns contemporary Jingju history, Chinese opera playwrights and audience aesthetic, and is centered on the themes of nation, diaspora and smuggling. Moreover, I, as a judge, participated in the military drama debate in 1983. Hence, the paper is not only a preliminary study with objective description, but also an example of field work based on personal experience.