摘要
徐訏是我國現代重要作家，但是一般讀者多只知道他的小說，對他的相當豊富的劇本卻非常陌生。本文特別提出他在1930年代創作的幾個他自己標示為「擬未來派劇」的戲：---《荒場》(1931)、《女性史》(1933)和《人類史》(1935) --- 來談談他的戲劇藝術和思想的前瞻性。由於台灣甚少未來派戲劇的中文資料，所以在討論徐訏作品前先簡單地介紹未來派戲劇的形式和內容。文中並提到《等待果陀》、《荒原》（The Waste Land）等西方戲劇和文學作品，來探索徐訏這些短劇的創意與戲劇成就。徐訏在1930年代能有這種大膽嚐試令人欽佩。可惜數量太少未能引起廣泛的注意與響應，沒有在我國現代戲劇的發展史上產生影響，殊感遺憾。
並列摘要
Xu Yu is a modern Chinese writer, well-known for his novels. Though his dramatic works have also achieved a quite high standard in quality and quantity, very few readers and theatre people have paid attention to his talent in this respect. This short paper tries to single out three short p1ays---The Wilderness (1931), Women History (1935), and Human History (1935), which he himself classified as works ”After the Futurist Theatre,” to look at his thought and dramatic art. Some Western Works like Waiting for Godot and The Waste Land are cited for comparison. As readers in Taiwan are mostly not familiar with the Futurist Theatre, the paper includes a brief introduction to the form and nature of this theatre for their convenience.
延伸閱讀
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- 林立雄（2018）。當代戲曲「實驗」的再思考－評栢優座《惡虎青年Z》。PAR表演藝術雜誌，(302)，78-79。https://www.airitilibrary.com/Article/Detail?DocID=10213139-201802-201802090006-201802090006-78-79
- 洪信惠（2017）。2017松菸Lab新主藝：多元成「戲」 藝術家的創作實驗室。PAR表演藝術雜誌，(299)，46-47。https://www.airitilibrary.com/Article/Detail?DocID=10213139-201711-201711140008-201711140008-46-47
- 楊婉羚（2014）。A Preliminary Study of ＂Yue Wei＂ Musical Qi's Thought。中國文化大學中文學報，(28)，71-96。https://www.airitilibrary.com/Article/Detail?DocID=10238808-201404-201512090049-201512090049-71-96
- 盧建榮（1979）。Kuei Yu-kuang: Fatalism and Reform。食貨月刊，9(1&2)，24-33。https://doi.org/10.6435/SHM.197905.0024