新加坡華語戲劇的左翼現代性實踐：以表演藝術學院為例（1965－1976）

本文透過左翼現代性的視角，分析新加坡獨立初期的華語劇團如何實踐具中國色彩的左翼思潮。本文認為左翼對華語劇團而言，是一種追求公意的精神與素樸的生活態度。華語劇團一方面透過「體驗生活」去理解底層人民的困境，並轉化為戲劇演出，向大眾傳遞社會不平等的現象；同時實踐苦行主義的生活方式，恪守道德規範來追求社會平等。這些作為旨在回應新加坡發展主義政策所造成的社會階層化，以及所衍生追求物質、耽於逸樂等社會現象。

關鍵字

新加坡；華語戲劇；表演藝術學院；左翼現代性；苦行主義

並列摘要

This article analyzes how Chinese theatrical groups interpret and practice leftist thoughts with Chinese characteristics through their performances and daily lives. Existing studies either view educated Chinese groups in the 1960s and 1970s as well-armed communists or violent rebels, or tend to argue that the practitioners of the leftist movements didn't have the identity of the Malaya communist party. Most of these perspectives center on the bipolar logic of communist versus non-communist instead of understanding the real implication of the leftist movement. This paper employs "leftist modernity" as the theoretical framework to show that there was an aspect beyond armed struggle which has not been fully discussed, and argues that the meaning of the leftist practices of the Chinese theatrical groups was an attitude of simple living and a search for the welfare of the public as a whole. The Chinese theatrical groups tried to deeply understand the bottom people's lives through "Going into life". On the other hand, they practiced a plain life of asceticism and strictly observed morality in pursuit of social equality. These were responses to the beliefs of the prevailing developmentalism policies and the following side-effects such as materialism and hedonism.

並列關鍵字

Singapore ； Chinese drama ； Performing Arts Studio ； leftist modernity ； asceticism

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