作者 ｜
林雯玲(台南大學戲劇創作與應用學系)
摘要 ｜
1935 年在中國被藝文界稱為「娜拉年」，因為數個大城市都有劇團製作演出易卜生的名劇《玩偶之家》（往往被重新命名為《娜拉》）。當時沒沒無聞的女演員李雲鶴，初到上海改名為藍蘋，應一左翼劇團之邀首度扮演女主角娜拉。該演出非常成功，藍蘋一夕成名，更因此踏入在中國開始發展的電影業。幾年後她改名為江青，並成為毛夫人，以另一個角色為世人所記憶。從1935 到1937 年，報紙的影劇版和電影雜誌經常刊登有關藍蘋的報導和照片。藍蘋的圖像和文章總是呈現一個現代女性的形貌，自信又吸引人─象徵著中國的娜拉。這樣的形象與江青後來在延安時期、50 年代和文革期間的照片迥然不同。
本文藉由追循從藍蘋作為娜拉到江青作為毛夫人的圖像形變，審視近代中國銘刻於女性身體的各種不同理想女性的論述，不管是五四知識份子、左翼人士或中國共產黨的國族和現代性想像，都建立在女性的身體上，並進一步規範標示性別的服裝髮型，「怎麼穿，穿什麼」成為一種進步與否的指標和意識形態的展現，不斷被監督與訓誡。除了探討藍蘋／江青不同階段的性別扮演，本文也審視她們服膺新女性的生活扮演，在爭議時所遭受的批評，卻往往弔詭地根植於其女性性別，曝露出由男性主導的性別建構與現實生活實踐的矛盾和折衝。最後，本文討論藍蘋／江青與新女性論述的不同關係，她並非被動的知識客體，又如何在不同程度上參與、操縱這些論述建構。
關鍵字 ｜
娜拉、性別展演、新女性論述、江青、圖像、玩偶之家
Title ｜
From Nora to Madam Mao: Pictures, Daily Performance and Gender Discourse
Author ｜
Wen-Ling Lin(Department of Drama Creation and Application National University of Tainan)
Abstract ｜
In China 1935was known as ‘the year of Nora’ with Ibsen’s A Doll
House (often re-titled as Nora) being produced in major cities throughout
the country. An unknown actress, Li Yunhe, who had come to Shanghai
and changed her name to Lan Ping, played the title character, Nora, at
the invitation of a left-wing theatre company. The success of Nora not
only launched Lan Ping from obscurity to fame overnight, but enabled
her to explore the new territory of the film industry. Several years later,
she changed her name again, this time to Jiang Qing and shortly became
Madam Mao, a role that most people remember her. From 1935 to 1937 ,
reports about Lan Ping, often accompanied by photographs, frequently
appeared in the theatre sections of newspapers and film magazines. The
photographs of Lan Ping as herself invariably present a modern woman,
confident and yet attractive, a symbolic Chinese Nora. This image of Jiang
may surprise those who know her only as Madam Mao through the photos
taken of her in the Yan’an period (1937 -1947 ), in the 1 0s, and during the
Cultural Revolution (1966-1976 ).
By tracing Lan Ping/Jiang Qing’s photographic metamorphosis, this
article examines different discourses of ideal womanhood as conveyed
by presentations of the female body in the pre-Mao period and in Mao’s
China. Be they the May-Fourth intellectuals, Left-wing intellectuals, or
leaders in the Chinese Communist Party, Chinese thinkers of all stripes
imagined modernity and their new nation through the female body, and
thus set out to become arbiters of women’s public style, in such matters
as hairstyle and clothes. What to wear and how to wear could demonstrate
whether a woman was advanced in thinking and embodied a proper
attitude towards new gender role. In addition to examining the gender
performance of Lan Ping/Jiang Qing in three important periods, this
article exposes the paradox of the male-constructed gender discourses by
exploring how the criticism she met with is deeply rooted in patriarchal
conceptions of gender. Finally, this article looks at how Lan Ping/Jiang
Qing, rather than being a passive object of gender discourses, to varying
degrees participated in and manipulated the construction of contemporary
gender discourses.
Keywords ｜
Nora, gender performance, New Woman discourse, Jiang Qing, pictorial images, A Doll House