善惡對立與晦暗地帶：臺灣反共戲劇文本研究

研究一九五○年代的反共戲劇有助於理解一九四九年後臺灣局部的感應結構。反共戲劇乃逃避主義戲劇，於歇斯底里中擁抱著「類阿Q」的精神勝利。它崛起於「神州赤化」、「浩劫之後」的年代，以致對於亡國之辱和離散情結的描述是那麼的赤裸，那麼的殘酷。假使宰制當今戲劇風向的是市場機制，一九五○年代劇運的推進力則來自處於總動員狀態的國家機器。據布魯克斯之見，流行於十九世紀法國的「通俗劇乃後神聖時代(post-sacred era)的產物，其中互斥力量之對立與超戲劇化(hyperdramatization)正反映人們的需求：讓一些關乎存在的重大抉擇可以被定位、彰顯、理解、啓動，雖然這些抉擇並不源自任何超越性的信仰，人們卻賦予它們至高無上的重要性。」反觀一九五○年代的臺灣，反共戲劇則是因應更迫切需求的「危機戲劇」，發抒、宣洩「失樂園」的哀慟，並於過程中企圖神聖化原本談不上神聖的事物，如國民黨、國民政府、傳統、封建制度。然而，即使作爲「反共抗俄」聖戰的工具，反共劇仍無法柱顧藝術、娛樂與商業這些層面。而且，這三層面之間的界限其實很模糊：藝術與娛樂有時一體兩面，而基於藝術的考量並不一定意味和票房過意不去。問題是：在運用戲劇策略、追求可看性的同時，反共劇往往於不知不覺中摻入了雜質，不但逸出善惡對立的軌道，甚至於敘事過程中自我解構。

關鍵字

反共戲劇；通俗劇；善惡對立；政治戲劇；戲劇政治

並列摘要

The study of anti-communist drama of 1950s is important in the sense that it offers a better understanding of the structure of feeling in Taiwan after 1949. The anticommunist drama is undoubtedly escapist, embracing the Ah Q-like spiritual victory in great hysteria. If the driving force of contemporary theatre in Taiwan is the market, the impetus behind the emergence of anti-communist drama was the state apparatus. The anti-communist drama was the product of a 'post-sacred' era; it was a kind of crisis drama that cried out the agony and pain of diaspora. To be sure, it shamelessly served as an instrument of ideological warfare in the feud between KMT and the Red China. Yet, by posing itself as art, it could not totally ignore other concerns such as artistic merits, entertainment factors, and market value. The paper demonstrates that in the process of making itself presentable, entertaining, and marketable, the anticommunist drama was consequently and perhaps unintentionally imbued with elements that deviated from the strict code of manichaeism and thus, to a certain extent, deconstructed itself.