清末民初戏剧中的民族焦虑表达与主体性重建——以域外亡国戏为考察对象

Expression of National Anxiety and the Reconstruction of Subjectivity of Dramas in Late Qing and Early Republic of China--Examination of Extraterritorial Country Subjugation Plays

在甲午中日战争后出现了“域外亡国戏”这一类戏剧题材,在特定的历史背景下,政治成了戏剧的铸模。社会实践与舞台表演相互映照,演员与革命者重合的身份也将个人命运与政治融于一体。在“域外亡国戏”中不仅释放了民族焦虑,同时,这类戏剧题材的出现也昭示着中国自身对于世界的介入。域外亡国戏中的演说现象,将戏剧变成了一场为了政治表达的文化表演,演说与戏剧的结合强化了戏剧中的政治动员力,其政治诉求显得更加迫切,因为这种戏剧图景呈现的不仅关乎个人的命运,更攸关国家的命运。

After the Sino-Japanese War of 1894—1895,the drama theme of“extraterritorial country subjugation”appeared,and in a specific historical background,politics became the casting model of drama.Social practice and stage performance reflect each other,and the overlapping identities of actors and revolutionaries also integrate personal destiny and politics.In the drama theme of“extraterritorial country subjugation”,not only has national anxiety been released,but at the same time,the emergence of such drama themes has also shown China's own intervention in the world.The phenomenon of speech in the drama of the fall of the country outside the territory has turned the drama into a cultural performance for political expression,and the combination of speech and drama has strengthened the political mobilization power in the drama,and its political demands have become more urgent,because this dramatic picture is not only related to the fate of the individual,but also to the fate of the country.