从仪式到象征:鸦片战争一百周年期间沦陷区的话剧演出——以《江舟泣血记》为中心  

From Ritual to Symbol:Theatre Performances in Occupied Areas During the Centenary of the Opium War—Centered on Jiang Zhou's Tears of Blood

作　　者：董鑫 DONG Xin

机构地区：[1]南京大学文学院

出　　处：《戏剧艺术》2024年第2期189-200,共12页Theatre Arts

摘　　要：苏联名剧《怒吼吧!中国》在抗战时期曾被改编为《江舟泣血记》,从反帝爱国剧畸变为策应日本侵略的反英美剧,背后与日伪操办的鸦片战争百周年纪念活动有着密切的关系。在这场纪念活动中,日本试图通过将戏剧演出打造为“通过仪式”,来诱导中国民众改变对鸦片战争以来英国侵略行径的认知,为鼓吹所谓“东亚新秩序”铺路。而汪伪限于财政窘境与舆情裹挟,与日本在鸦片问题上滋生嫌隙,故对剧作进行二次改编阻碍了仪式效果的实现。与二者相对,沦陷区演剧界与民众则自发避开公共题材,转而在私生活的主题中建立起身体象征的符号序列,并以之为符号武器构筑起抵制鸦片、反抗侵略的“潜隐政治”。The famous Soviet drama Roar!China was adapted into Jiang Zhou's Tears of Blood during the War of Resistance against Japanese Aggression.It changed from an anti⁃imperialist patriotic drama to an anti⁃Anglo⁃American drama designed to whitewash Japanese aggression,which was closely linked to the centenary of the Opium War organized by the Japanese regime.Through the event,Japan aimed to reshape China's social perception of British aggression since the Opium War by portraying the drama as a“rite of passage”,paving the way for agitating for the so⁃called“New East Asian Order”.However,due to financial constraints and public opinions,the Wang's puppet regime had a bad feeling with Japan on the opium issue.Thus,the second adaptation of the play hindered the intended ritual effect.In contrast,the theatrical circles and the public in the occupied areas focused on themes relating to their personal lives.Through these themes,they established a symbolic order using bodily expressions as tools for resisting opium and aggression,constructing a“hidden politics”of resistance.

关 键 词：鸦片战争 百年纪念 江舟泣血记 仪式 象征 

分 类 号：J80[艺术—戏剧戏曲]