變形的故鄉，有情的測繪：《茶館》，懷舊，喪失感，自我悲悼

Abstract

本論文以老舍（1899-1966）的三幕戲劇《茶館》（1957）為主要論述對象，兼及《茶館》的一系列改編版－焦菊隱、夏淳的人藝戲劇版（1958），謝添的電影改編（1982），林兆華的先鋒舞臺實踐（1999），易立明的極簡主義試驗（2010），以及何群、葉廣岑、楊國強的電視連續劇（2010）－從而解讀老舍筆下的空間形變，都市情感，故鄉情結。通過考察對裕泰茶館的寫實主義、表現主義、極簡主義、甚至煽情悲喜劇式想象，本文將茶館詮釋為物質空間與心理空間的合體，以及政治變亂下逐步扭曲、變形的時空型，並進而探究物質毀形與情感流變的交錯糾結：茶館內部實物的位置與秩序的衰變，茶館與外部空間與時代的關聯，內爆於茶館的懷舊情緒、喪失感、自我悲悼，以及從茶館延伸出去並外爆顯影的幽暗意識與都市焦慮。

This paper explores the spatial warping and affective mapping of the Yutai Teahouse mainly in Lao She`s 1957 three-act play Teahouse, and its variant constructions in Jiao Juyin and Xia Chun`s classic theatrical adaptation in 1958; Xie Tian`s post-Mao realist film in 1982; Lin Zhaohua`s avant-garde and expressionist stage performance in 1999; He Qun, Ye Guangcen, and Yang Guoqiang`s melodramatic television series released in 2010; as well as Yi Liming`s experimental and ephemeral minimalist reworking of Lao She`s masterpiece in 2010. By depicting the lives of people who frequent the teahouse, a shrinking public space and a symbolic miniature of his native city, the Manchu playwright Lao She buries the three eras of the decline of the Manchu Empire, the chaos of the warlord regimes, and the downfall of the Nationalist government. By interpreting the long sequence of sustained and shifting images of the Yutai teahouse produced from the seventeen-year socialist period to the post-Cold War era, I aim to interpret the teahouse as a physical and psychological place and space, and a warped space-time continuum, that presents the interactions between material deformations and emotional vicissitudes over fifty years. My approach focuses on two aspects: the changing locations of material objects, such as tables, chairs, furniture, and ornaments within the shrinking and warped teahouse; and the intriguing relations between the teahouse and the street, between the interior and exterior spaces, and between nostalgic sympathy, sense of loss, and self-mourning that implode in the teahouse and urban horrors and darkness that extend and explode from within.