革命与抒情的“统一”——“业实”演出《罗密欧与朱丽叶》与中国戏剧现代性

The Unity of Revolution and Lyric:The Production of Romeo and Juliet by Shanghai Amateur Experimental Troupe and the Modernity of Chinese Theatre

一般论述中,较少将莎士比亚与"革命"牵扯在一起,而习惯地将之纳入"抒情"的传统。本文以1937年上海业余实验剧团的演出《罗密欧与朱丽叶》为例,论述导演章泯是如何在特殊的历史时期,通过各种召唤"情感"的手段,使"抒情"的莎剧带有"革命"的色彩。而对这一段历史的重新发现,有助于我们认识"革命"与"抒情"的复杂关系,以及中国莎剧演出、左翼戏剧与中国现代戏剧丰富而复杂的面相。

Shakespeare has seldom been related to ＂revolution＂, but is usually assimilated into the lyrical tradition. This paper takes the production of Romeo and Juliet by Shanghai Amateur Experimental Troupe in 1937 as an example, discussing how Zhang Min, the director, turned the ＂lyrical＂ Shakespearean play into a ＂revolutionary＂ performance by resorting to ＂emotions＂ in various ways in the special historical period. The re-discovery of that historical period helps us understand the complicated entanglements of ＂revolution＂ and ＂lyric＂, as well as the muhifaceted history of Shakespeare on Chinese stages, the left-wing theatre and Chinese modern theatre.