4 Raymond Williamsstructure of feeling excess 5 6 more is more Brooks4 6 ix

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1 7 Journal of Theater Studies 善惡對立與晦暗地帶 : * 臺灣反共戲劇文本研究 1 前言 : 今昔對照 The Melodramatic Imagination 2 Peter Brooks 3 * H MY Peter Brooks, The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess (New Haven: Yale University Press, 1995). 3 vii -151-

2 4 Raymond Williamsstructure of feeling excess 5 6 more is more Brooks4 6 ix

3 escapist theatre light entertainment Q 8 post-sacred era hyperdramatization 9 一善惡對立的政治戲劇 Brooksviii

9 manichaeism 二戲劇政治的曖昧地帶 Owen Davis the obvious Brooks Michael R. Booth, English Melodrama (London: Herbert Jenkins, 1965), p

10 political drama politics of drama

11 -161-

12 comic relief pornography pornography -162-

13 erotica pornography pornography

14 Mikhail Bakhtincentrifugal force

15 42 43 ambivalence

16 44 結論 : 預知死亡紀事 Henrik Ibsen, Anton Chekhov, parody Bernard Shaw,

17 Eric Bentley dramatic sense 46 cultural specificity Eric Bentley, The Life of the Drama (London: Methuen & Co Ltd, 1965), p Brooksxv

18 49 50 Michael Booth Michael R. Booth, English Melodrama (London: Herbert Jenkins, 1965), p

19 masochism Marianne Noble sentimental literature disempowerment empowerment 53 Q Marianne Noble, The Masochistic Pleasures of Sentimental Literature (New Jersey: Princeton University Press, 2000). 54 Brooks

20 善惡對立與晦暗地帶 : 臺灣反共戲劇文本研究 Q post-sacred era hyperdramatization 關鍵詞 : 反共戲劇通俗劇善惡對立政治戲劇戲劇政治 -170-

21 Manichaeism and Its Deviations: Study of Anti-Communist Drama in Taiwan Wei-jan CHI Professor, Department of Drama and Theatre, National Taiwan University The study of anti-communist drama of 1950s is important in the sense that it offers a better understanding of the structure of feeling in Taiwan after The anticommunist drama is undoubtedly escapist, embracing the Ah Q-like spiritual victory in great hysteria. If the driving force of contemporary theatre in Taiwan is the market, the impetus behind the emergence of anti-communist drama was the state apparatus. The anti-communist drama was the product of a post-sacred era; it was a kind of crisis drama that cried out the agony and pain of diaspora. To be sure, it shamelessly served as an instrument of ideological warfare in the feud between KMT and the Red China. Yet, by posing itself as art, it could not totally ignore other concerns such as artistic merits, entertainment factors, and market value. The paper demonstrates that in the process of making itself presentable, entertaining, and marketable, the anticommunist drama was consequently and perhaps unintentionally imbued with elements that deviated from the strict code of manichaeism and thus, to a certain extent, deconstructed itself. Key words: Anti-communist drama melodrama manichaeism political drama politics of drama -171-

22 徵引書目 Bentley, Eric. The Life of the Drama. London: Methuen & Co Ltd, Booth, Michael R. English Melodrama. London: Herbert Jenkins, Brooks, Peter. The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess. New Haven: Yale University Press, Noble, Marianne. The Masochistic Pleasures of Sentimental Literature. New Jersey: Princeton University Press,

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9 9 9-99 9 9 8 9 00 9 9 9 9 008 8 00 00 00 0 008 0 0 9 9 99 00 9 98 0 No. 0 JOURNAL OF HISTORIOGRAPHY Serial No. ( 南京大学历史系, 江苏南京 009) 新文化运动以后, 中国的文史学术界大致分为南北两大系统, 以新旧为重要分野其中, 位于南京的东南大学多被视为南方旧学的重镇 9 年南京国民政