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日本藝術座的新劇運動與田漢早期劇作中的女性婚戀議題
Women, Love and Marriage: Tian Han's Early Dramas and the New Theatre Movement by Geijutsu-za in Japan
摘要
田漢（1898-1968）是中國現代話劇的奠基人，在中國現代戲劇運動每個重要階段的轉向都擔當著「先驅者」的角色。早期劇作自覺地吸取外國藝術資源，富有濃重的浪漫色彩；其中，女性又往往居於劇作重心，主導著劇情發展。劇中的女主人公往往富有追求個性解放和人格獨立的鮮明形象，在面對「靈」與「肉」的激烈衝突時，總是義無反顧地選擇前者，獻身於「真藝術」與「真愛情」，從中可見帶有高度的女性崇拜色彩。這一現象在田漢早期劇作中相當值得注視，但歷來有關此方面的專論甚少。田漢早年曾留學日本，當時日本處於大正時代，文化氣息濃厚，是新劇運動的興盛期，其中以藝術座上演過為數不少的以女優為中心的外國翻譯劇。戲裹戲外，女性命運都為日本的劇場運動添上獨特的一筆。田漢在日本留學期間看了不少新劇，並開展話劇創作生涯，兩者之間的關係值得探討。本文嘗試勾勒二者之間如何吸收與轉化的具體關係，從田漢的文論和日本大正時代新劇運動的資料出發，重新探討田漢的早期劇作，冀能對當中的女性婚戀議題有更深入的剖析，並闡述箇中意義。
並列摘要
Tian Han (1898-1968) is one of the most prominent dramatists of modern Chinese literature and the pioneer in all significant movements of modern Chinese drama. His early dramas are influenced by foreign literature and full of romanticism, among which female characters are an outstanding feature, yet only few critics are concerned about this. The female characters always have a strong pursuit of personal liberation and independence. When facing severe conflicts between spirit and flesh, undoubtedly they would choose spirit and dedicate themselves to "true art" and "true love", showing an inclination towards the sacred feminine. Tian Han had studied in Japan in his young age during the Taisho Era, a flourishing period of new culture and the New Theatre Movement. In the New Theatre Movement, many western dramas featuring the actress (joyu) were staged in the new theatres by Geijutsu-za; both the real life and the stage life of the actress had high degrees of importance. Meanwhile, Tian Han had become a drama fan and started his script writing career in Japan. Therefore, the goal of this paper is to outline the relationship between the new dramas in Japan and Tian Han's early dramas. By exploring the theses written by Tian Han and the history of the New Theatre Movement, this paper also aims at re-examining Tian Han's early dramas in order to give a more in-depth analysis towards the topics of women, love and marriage and their significance.