糾結於冷戰結構與殖民遺緒：新加坡獨立初期華語戲劇的左翼實踐（1965~1976）

The Entanglement between Cold War Structures and Colonial Legacies: Leftist Practices of Chinese Theatre in Singapore, 1965-1976

沈豪挺(Hao-Ting Shen)

指導教授 ： 李美賢

國立暨南國際大學/人文學院/東南亞學系/博士(2018年)

摘要

本研究旨在探討新加坡獨立初期，在冷戰結構與殖民主義遺緒的影響下，左翼華語劇團仿效與實踐中國左翼思潮的在地特徵，呈現左翼思潮在新加坡的轉化，與在新加坡的冷戰效應。依循Heonik Kwon與羅永生的觀點，強調理解冷戰結構對亞洲國家人民的影響，必須考量各國特有的殖民經驗。以新加坡而言，獨立後最顯著的殖民主義遺緒，乃「英語源流-優/華語源流-劣」的語言源流階層化現象，與高度發展的國際商業城市。因此，本研究借用「文化去殖民」與「消費文化」的概念，分析華語劇團如何挪用左翼思潮，並透過戲劇演出與劇團內部活動，破除或翻轉殖民主義遺緒所形成的語言源流階層化；同時以具市場邏輯的行銷模式，推廣與宣傳左翼戲劇，且戲劇參與者透過消費支持左翼社群。
從新加坡華語劇團在地的左翼實踐，能夠看到在新加坡親美反共的「大歷史敘述」下，左翼運動的某部分面貌。而華語劇團批判語言源流階層化，與對底層群眾的關懷，可看到左翼華語戲劇與新加坡社會現況有著緊密的接合，而非僅是全然挪用左翼思潮而忽略社會現實，駁斥了現有左翼運動研究將左翼群體描繪為「激進」、「暴力」的單一形象，與新加坡左翼戲劇盲目仿效中國左翼思潮的觀點。本研究呼應了Tony Day等人所主張冷戰二元意識並非僵固的意識形態，在地人民對於意識形態的實踐，不會全然仿效親共/反共的意識形態，而會因應在地情勢而改變，如華語劇團的左翼實踐，不僅蘊含對於殖民遺緒的質疑，同時也具備反共陣營的資本主義邏輯，這些現象構成了新加坡左翼華語戲劇「糾結於殖民遺緒」的特徵。

關鍵字

冷戰文化 ； 新加坡華語戲劇 ； 左翼實踐 ； 文化去殖民 ； 消費文化

並列摘要

The purpose of this study is to understand the characteristics of Singapore’s leftism by focusing on Singaporean Chinese theatrical troupes during the Cold War Era, the early stage of Singapore’s independence. Under the influence of the Cold War Structure and colonial legacy, these troupes simultaneously imitated and transformed the leftist thoughts imported from China. Heonik Kwon and Wing-Sang Law argue that in order to understand the impact of Cold War structure on the Asians, it is necessary to take into consideration of the individual colonial experiences of each Asian country. Take Singapore as an example, there were two most salient consequences of colonial legacy: one was language stratification manifested in English’s superiority over Chinese; the other was Singapore’s rapid development into an international commercial hub. This dissertation uses the concepts of “cultural decolonization” and “consumer culture” to analyze how Singaporean Chinese troupes through their theatrical performances appropriated leftist thoughts from China to demolish language stratification formed by colonial legacy. At the same time, these troupes also used marketing strategies to promote their shows. Troupe members drew financial support for leftist communities through audience’s patronage.
Singaporean Chinese-language theatrical troupes’ leftist practices shed new light to leftist movements embedded in Singapore’s pro-US/anti-communist macro historical narrative. Furthermore, their criticism of language stratification and their attention on unprivileged mass indicates that their shows closely connected with Singapore’s society. Their performance was not simple appropriation of leftist thoughts at the cost of social realties. It also refutes the monotonous image of being radical and violent on the one hand and blindly aping China’s leftism on the other assigned to leftist groups by existing scholarship. The study echoes the argument presented by Tony Day and others that Cold War ideology was not a rigid one in that the locals, in response to their own situations, would transform rather than simply imitate or reject communist ideology. It is demonstrated by Singapore’s Chinese theatrical troupes’ leftist practices during the Cold War era, which not only questioned colonial legacy but also followed capitalist logics popular in the anti-communist camp. These two seemingly contradicting practices were the characteristics of Singaporean Chinese-language theatres’ the entanglement with colonial legacies.

並列關鍵字

Cold War Culture ； Singapore Chinese Language Theatre ； Leftist practice ； Cultural Decolonization ； Consumer Culture

參考文獻

一、外文專書中譯本

Andaya,B.W.＆ Andaya,L.著，黃秋迪譯，《馬來西亞史》（北京：中國大百科全書出版社，2010）。

Bocock, Robert著，張君玫譯，《消費》（台北：巨流，1995）。

Chatterjee, Partha著，范慕尤、楊曦譯，《民族主義思想與殖民地世界》（南京：

鳳凰出版社， 2007）。