笑的顛覆－楊絳的女性風俗喜劇

The Subversiveness of Laughter: Yang Jiang's Female Comedy of Manners

10.6187/tkujcl.202106_(44).0010

張曉恩(Cheung, Hiu Yan Alice)

楊絳 ； 風俗喜劇 ； 女性的笑 ； 戰時上海話劇 ； Yang Jiang ； Comedy of Manners ； Female Laughter ； Wartime Shanghai Theatre

淡江中文學報

44期（2021 / 06 / 01）

305 - 343

繁體中文

楊絳（1911-2016）於抗戰時上海發表了兩部喜劇──《稱心如意》（1943）及《弄真成假》（1943）。兩劇上演後，李健吾（1906-1982）評楊絳的喜劇為「中國真正的風俗喜劇」，更認為楊絳的喜劇是中國現代喜劇發展的第二道紀程碑。西方學者Amy Dooling稱這兩部喜劇為女性主義風俗喜劇，重點討論劇中「女性的笑」（female laughter），並指出這兩部劇的顛覆性。女性的笑確是楊絳喜劇的重要特徵，亦是令她的劇作比一般風俗喜劇更具顛覆性的關鍵，本文會以楊絳的喜劇裡女性的笑作為考察中心，討論楊絳喜劇與劇種類型──風俗喜劇和女性風俗喜劇──的關係，期以更廣闊的視野閱讀楊絳作品中的顛覆性，探討她的喜劇美學。

Yang Jiang (1911-2016) wrote two comedies when she resided in Shanghai during the War of Resistance: As You Desire (1943) and Forging the Truth (1943). After the plays were staged, Li Jianwu (1906-1982) describes Yang Jiang's comedies as ＂the authentic comedies of manners of China＂ and regards them as the second milestone in the history of modern Chinese comedy. Western scholar, Amy Dooling, considers Yang Jiang's comedies as feminist comedies of manners of which female laughter and subversiveness are the prominent generic features. Evidently featured in Yang Jiang's comedies, female laughter plays a key role in endowing her works with an extraordinarily strong sense of subversiveness. This article examines Yang Jiang's comedies and their relationship with the genres of the comedy of manners and the female comedy of manners, and their evident generic qualities, that is, female laughter, in order to offer a more comprehensive interpretations of the subversiveness of Yang Jiang's comedies and of the playwright's comedic aesthetic.

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