当“救亡”遇上“旧疾”:从三场论争探析马华抗战话剧的大众化路径  

When Salvation Meets Maladies:Three Debates and the Popularization of Malaysian Chinese Drama during the War of Resistance

作　　者：陈涛[1] Chen Tao

机构地区：[1]中国人民大学文学院

出　　处：《戏剧（中央戏剧学院学报）》2023年第3期116-128,共13页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金重大项目“20世纪中国文学学术话语体系的形成、建构与反思研究”(项目编号:20&ZD280)阶段性成果。

摘　　要：在马华话剧理论的建设方面,发生于抗日救亡初期的三场论争——以《怒涛》为中心的“南洋地方性剧本”之争、以《日出》为中心的“救亡剧”与“社会剧”之争以及以《群莺乱飞》为中心的职业剧人与业余剧人之争,不仅暴露了新马话剧长期积累的弊病,而且有效探索了新马抗战戏剧运动有别于中国救亡戏剧的“大众化”路径。有关马华抗战话剧的理论争鸣,也彰显了新马话剧的跨文化属性,呈现了“救亡”作为一种话语的地方性、民族性和商业性等多样化特征。In terms of Malaysian Chinese drama theory,three debates in the early stage of the War of Resistance—the discussion on “Nanyang local scripts” caused by Furious Billows,the debate between “salvation drama” and “social drama” caused by Sunrise,and the dispute between professional and amateur dramatists caused by A Flock of Warblers in Disorder—not only exposed the maladies in Nanyang drama,but effectively explored the popularization path of the Neo-Malaysia resistance drama movement,diverging from the Chinese salvation drama.The theoretical debates also demonstrated the attribute of Sinophone drama in Southeast Asia as an intercultural theatre,showing the diversified characteristics of “salvation” as a discourse,including locality,nationality and commerciality.

关 键 词：马华戏剧 抗战救亡话剧 华侨 大众化 

分 类 号：J82[艺术—戏剧戏曲]