展演當代上海之社會矛盾：論喻榮軍作品與上海話劇藝術中心轉型之關聯

Performing Social Contradictions in Contemporary Shanghai: On Nick Rongjun Yu's Works and the Epochal Transformation of Shanghai Dramatic Arts Center

許仁豪(Jen-Hao Hsu)

《戲劇學刊》 31期 (2020/01) Pp. 123-154

摘要

一九九五年，因應時代文化產業化政策，上海人民藝術劇院以及上海青年話劇團整併，上海話劇藝術中心（以下簡稱「上話」）在市場化機制當中誕生。上話經過二十多年的發展，已經確認多元發展的大方向及原則。喻榮軍作為上話二十多年來最重要的經營者跟創作者，寫出一批蔚為潮流的戲劇，成功幫上話鞏固一群新時代的話劇觀眾。喻榮軍戲劇整體構築出來的美學，著實反映了當代上海觀眾主體的審美取向。從他戲劇形式與內容的分析，我們可以一窺當代上海觀眾的慾望、焦慮、煩憂以及內心深處的渴望。本文對喻榮軍作品全面分析，發現在改革開放四十年以後，上海地區的確已經形成一股主流的白領、中產階層審美，在都會愛情戲裡重演百年前西方資產階級的空虛寂寞與情感渴望。然而，中國歷史進程下的特殊語境，在典型的「感傷主義」通俗情節劇之外，也出現了帶有集體社會倫理訴求的「溫情主義」。此外，上海話劇藝術中心依然延續著一九八○年代體制改革時期的實驗戲劇的傳統，喻榮軍大膽實驗戲劇形式，並藉此拋出尖銳的社會矛盾議題，持續與觀眾的品味與思考戰鬥。喻榮軍與上話繼承了黃佐臨的啟蒙精神，持續在國家體制、市場機制與資本力量之間，尋找戲劇藝術自主空間的可能性；並且在白領品味的戲劇裡大膽探索全球資本主義時代，在上海漸次浮現的社會矛盾。

關鍵字

上海話劇藝術中心 ； 喻榮軍 ； 溫情主義 ； 社會矛盾 ； 全球資本主義

並列摘要

In 1995, in response to the central government's policy, Shanghai Dramatic Arts Center (SDAC) was born out of the merging of Shanghai People's Theatre and Shanghai Youth Spoken Drama Troupe. After developing for twenty years or so, SDAC has established its mission for diversified developments. Nick Rongjun Yu, as the most important manager and in-house artist of SDAC in the past 25 years, has written a significant number of popular plays that have helped SDAC secure a new generation of theater goers in Shanghai. The aesthetics constituted by Yu's plays as a whole indeed reflects the collective taste of contemporary Shanghai audience. Their inner desires, anxieties, worries and longings are reflected in the forms and contents of Yu's plays. This paper analyzes Yu's important plays and shows that, after forty years of capitalist development, a mainstream bourgeois aesthetics has emerged in contemporary Shanghai in which similar episodes of romantic love and loneliness in Western bourgeois melodramas of the nineteenth century recurred. Nevertheless, Chinese melodramas emerges from a very different historical process and condition, and in Yu's melodramas a kind of ethical demand is imbricated in the affective mode of ＂warm-sentimentalism＂ that is not common to their Western counterparts. In addition to popular melodramatic plays, Yu and SDAC inherit Huang Zuoling's enlightenment spirit: SDAC continues the tradition of experimental theatre and Yu unfailingly keeps on experimenting with new plays, exposing social contradictions in these productions and challenging his audience to think differently. Struggling among the power of state institution, market and capital, Yu insists on testing their boundaries, seeks the freedom of artistic expressions and explores the emerging social contradictions in Shanghai in the era of global capitalism.

並列關鍵字

Shanghai Dramatic Arts Center ； Nick Rongjun Yu ； sentimentalism ； social contradiction ； global capitalism

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