《怒吼吧!花岗》的戏剧实践与东亚传播  

The theatrical practice of Roar!Granite and its East Asian dissemination

作　　者：邵海伦 Shao Hailun(Xiamen University,China)

机构地区：[1]厦门大学台湾研究院

出　　处：《日语学习与研究》2025年第1期80-90,共11页Journal of Japanese Language Study and Research

基　　金：2016年度国家社科基金重大项目“六十年来台湾社会思潮的演进与人文学术的发展(1950-2010)”(项目批准号号:16ZDA138)的阶段研究成果,项目主持人:朱双一。

摘　　要：1986年由陈映真引入中国台湾的日本戏剧《怒吼吧!花岗》在台北引起强烈反响。导演石飞仁借用文献剧形式,成功打捞消失于日本战后历史叙述的花岗事件,对日本战后否认战争罪责的历史虚无主义提出质询。通过改变传统文献剧的表达程序与启动当事证人的情感叙述功能,该剧进一步刺破日本战前军国主义遗留的“感情炼金术”,召回日本观众作为“常人”的喜怒哀乐,也使中国台湾观众反思“殖民现代性”论调,唤醒他们的中华民族情感。《怒吼吧!花岗》在1980年代的诞生,有赖于1960年代日本战后左翼戏剧运动的残余影响,也与1950年代中国共产党的“战犯改造”运动遥相呼应,是东亚左翼力量跨越时间与空间的联动产物,向世人示范了中日民族跨越伤痛的和解之道。The Japanese play Roar!Granite introduced to Taiwan in 1986 by Yingzhen Chen received a strong response in Taipei.Director Shi Feiren used the documentary drama format to successfully resurrect the forgotten history of the Granite Incident in post-war Japan,challenging Japan's post-war historical revisionism regarding war responsibility.By altering the traditional format of documentary drama and activating the emotional narratives of the involved witnesses,the play further dismantles the"emotional manipulation"which is the result of pre-war Japanese militarism,bringing back the joys and sorrows of Japanese audiences as ordinary people.It also prompts Taiwan residents audiences to reflect on the discourse of"colonial modernity"and awakens their Chinese national sentiments.Roar!Granite was created in the 1980s,influenced by the remnants of the 1960s Japanese post-war left-wing theater movement and resonating with the"reeducation of war criminals"movement led by the Chinese Communist Party in the 1950s.It represents a joint product of left-wing forces in East Asia transcending time and space,demonstrating a path to reconciliation between the Chinese and Japanese peoples,transcending their historical wounds.

关 键 词：花岗事件 文献剧 情感叙述 日本左翼戏剧 战犯改造 

分 类 号：J805[艺术—戏剧戏曲]