老上海鄉愁情感結構：談上海話劇藝術中心對小說《長恨歌》的改編

Old Shanghai Nostalgia as a Structure of Feeling: On Shanghai Dramatic Arts Center’s Everlasting Sorrow

10.6257/JOTS.201807_(22).107

許仁豪(Jen-hao HSU)

鄉愁情感結構 ； 長恨歌 ； 王安憶 ； 上海話劇藝術中心 ； 趙耀民 ； the structure of feelings of nostalgia ； Everlasting Sorrow ； Anyi Wang ； Shanghai Dramatic Arts Center ； Yaomin Zhao

戲劇研究

22期（2018 / 07 / 01）

107 - 140

繁體中文

這篇文章集中探討《長恨歌》作為上海話劇藝術中心經典定目劇的文化意義。對比探討小說以及戲劇呈現老上海歷史記憶的異同，從改革開放以後的「老上海文化鄉愁」現象來說明，《長恨歌》從今天回望過去的上海隱含了一種時間性批判，對於老上海文化記憶的傳承打開了思考空間。小說《長恨歌》裡的鄉愁感傷情緒，說明了王琦瑤宿命的悲劇，召喚出「現代性」生存景況裡的「憂鬱主體」，對進步史觀抱持批判的態度。小說《長恨歌》呈現王琦瑤的生活場景記憶，打開關於上海過去的想像，藉此找尋新上海文化認同的可能。但是小說終究以「恨」的情緒來揮別「老上海鄉愁」，以上海小姐之死沉痛告別了老上海，並在她「永劫回歸」的劇情結構裡，拋出了存在主義式的命運終歸虛無的沉思。戲劇《長恨歌》重新搬演王琦瑤的故事，讓王琦瑤在劇情的推展下成了一個試圖掌控命運的「英雄」，雖然她遍體麟傷，一無所有，但是她活了下來，老上海鄉愁在戲劇的《長恨歌》裡成了悲壯的史詩，人物頓悟命運的殘酷，但是升起了「權力意志」（will to power）以求活作為自身命運的註腳。戲劇《長恨歌》告訴觀眾面對上海的過往不必然有恨，以開放性的結局，把王琦瑤接下來的命運想像留予每一次看戲的觀眾，這樣開放性的作法，體現了黛安娜．泰勒（Diana Taylor）論述「文化劇目」（the Repertoire）作為記憶傳承的目的，戲劇《長恨歌》表演王琦瑤的生命情節（scenario），讓每一次的重演不只是再一次的重複，作為文化記憶的「傳遞行動」（act of transfer），《長恨歌》每一次的重演都打開觀者的思考空間，重新建構老上海記憶，以當下的社會狀態再次評估過去與當下的關係。

This paper focuses on discussions about the meaning of Everlasting Sorrow as an important part of the canonical repertory of Shanghai Dramatic Arts Center. Through analyzing the differences between the original novel and its dramatic adaptation, this paper situates the discussions of both texts in the larger cultural phenomenon of ＂Old Shanghai Nostalgia,＂ laying bare the temporal critiques which open up spaces of critical thinking for the heritage of old Shanghai cultural memory. The nostalgic melancholia in the novel Everlasting Sorrow bespeaks the tragic fate of the story's female protagonist Wang Qiyao. This melancholia evokes the ＂melancholic subject＂ wandering in the wasteland of modernity and further critiques the optimism of progressive, teleological thinking of human history. Wang's life story heralds in cultural memories of old Shanghai and seeks to anchor a new identity of Shanghai in the contemporary moment. Nevertheless, the ending of the fictional story dwells on the ＂sorrow＂ and bids farewell to old Shanghai nostalgia with the death of the heroine. In the plot structure of the eternal return of Wang's death, the novel further throws out questions about nihilism and human existence. The dramatic version restages Wang's life story and transforms her into a heroine who tries to take destiny in her own hands. In the end, she is wounded and left with nothing, but she survives. Nostalgia for old Shanghai in the theatre version becomes an epic story where the heroine calls upon her will to power to counter the cruelty of life. The theatrical version does not dwell on sorrow, and celebrates an open-ended solution instead. This open ended-ness allows the audience to re-imagine the future possibility of the heroine each time when her story is re-staged. This makes the theatrical adaptation a true ＂repertoire＂ according to Diana Taylors's definition. It deploys the scenarios of Wang Qiyao's life as ＂acts of transfer＂ to pass down cultural memories. Each time, when the scenarios are re-enacted, critical spaces are opened among the audience to reassess cultural memories of old Shanghai and reevaluate how Shanghai today is made possible by her past.

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