論洪深對蕭伯納的接受及其與中國現代戲劇史的關係

On Hong Shen’s Reception of George Bernard Shaw and its Relationship with the History of Modern Chinese Drama

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

在中國現代戲劇史中，洪深（1894—1955）是一個不可繞過的關鍵人物：1922 年，洪深作爲在哈佛攻讀戲劇碩士的“中國破天荒第一人”從美國留學回國；1928 年，洪深作爲“話劇”一詞的發明者，被譽爲“中國話劇的三個奠基人”之一；1935 年，洪深爲《中國新文學大系·戲劇集》擔任編者和撰寫導言，其論述對往後中國現代戲劇史的各種書寫影響深遠。然而，有關洪深的討論和研究在比例上一直遠遠落後於他在中國現代戲劇史上的重要地位。本文聚焦於洪深與愛爾蘭劇作家蕭伯納（George Bernard Shaw, 1856—1950）的戲劇關係，連繫洪深的上述生平和貢獻，重新梳理洪深如何指引中國現代戲劇在現實主義和劇場性方面的發展。本文爲洪深研究鈎沉原始史料，爲洪深與西方戲劇的關係補充重要一筆，同時梳理蕭伯納於戲劇方面在中國的接受情況。本文首先討論蕭伯納在中國現代戲劇中的位置和接受情況的落差，接著鈎沉整理洪深對蕭伯納的接受和引介，最後通過重讀《從中國的新戲說到話劇》一文，分析洪深如何爲中國現代戲劇的早期發展建立起現實主義和劇場性的論述脈絡。

Hong Shen (1894-1955) was a significant theorist in modern Chinese drama. In 1922, Hong Shen returned from the United States as “the pioneer in China” who studied drama at Harvard University. In 1928, Hong Shen invented the term “spoken drama” and was reputed as “one of the three founders of Chinese drama”. In 1935, Hong Shen was the editor and wrote the preface of Compendium of Modern Chinese Literature, Drama Volume, which had a profound impact on the various discourses of the history of modern Chinese drama. However, the research on Hong Shen has been far behind in proportion to his important position in the history of modern Chinese drama. This paper focuses on the theatrical relationship between Hong Shen and Irish playwright George Bernard Shaw (1856-1950), with connection to Hong Shen’s career and contributions, and re-examines how Hong Shen influenced the development of realism and theatricality in modern Chinese drama. This paper aims to re-investigate the relationship between Hong Shen and the Western drama by the exploration of original historical materials, as well as the reception of Shaw theatrics in China. This paper first discusses the position and the different receptions of Shaw in the Republican China. Then, this paper examines the reception and introduction of Shaw by Hong Shen. Finally, this paper re-examines the article “A discussion from Chinese New Drama to Spoken Drama”, in order to analyze how Hong established the discourse of realism and theatricality in the early development of modern Chinese drama.