| 摘要: | 李曼瑰，一位對於臺灣戲劇有著極大貢獻的女作家，同時也是臺灣第一屆立法委員以及教育家。在學習方面，她有著強大的文學基礎，並且因為留學的關係，對於西方戲劇也極為廣博。究竟一位身兼教育家與政治家的戲劇人，在那反共的年代中，又是如何運用她手上的那一支筆盡情地揮灑創作並提倡出她的反共思想？因此，本論文希望藉由她的生平與戲劇觀來帶出她的反共劇作在當時年代是如何的蔚為潮流，並藉由李曼瑰的四部反共劇作的題材內容、人物刻劃、語言特色、劇本的主題與演出情形來了解李曼瑰反共劇本的特色與其對臺灣戲劇之貢獻與影響。
本文共分五章，第一章為「緒論」，就研究動機、文獻探討、論文架構三大部分作一闡述。第二章為「李曼瑰的生平與戲劇觀」，第一節將李曼瑰的生平依序年代順序，重點闡述其生長背景與環境年代以及交友情況等重要成長記事。第二節就李曼瑰的「戲劇觀」作一闡述，分成留學前的「戲劇觀」、留學時期的「戲劇觀」、抗戰時期「戲劇觀」、在台時期「戲劇觀」，四方面來分別說明。第三節則為本章小結。第三章為「李曼瑰反共劇本特色」，第一節就劇本的題材與內容逐一說明，就其反共劇本的探討與主旨思想為一說明。第二節就劇本的語言特色為一探討，從反共劇本的語言特色中來突顯當時的政治環境因素與語言特色作一說明。第三節為探討劇本人物的刻畫說明，可從劇本刻劃人物中看出當時年代的社會背景觀察與社會時事探討作一闡述。第四節從劇本主題中討論劇本的年代與其歷史背景，其中包含有反共思潮的歷史過程作一敘述說明。第五節為反共劇本的演出情形，探討劇本被當時觀眾接受的程度。第六節為本章小結。第四章為「李曼瑰劇本的價值與影響」，第一節為見證臺灣歷史發展作一說明。第二節為豐富臺灣戲劇作品內容作一闡述。第三節為「小劇場」運動內容作一闡述說明，並加以說明小劇場運動對於臺灣戲劇的影響。第四節為強化劇作家的批判力道闡述說明。第五節為本章小結。第五章為「結論」，綜合以上一到四章的內容加以分析討論，在此章中作一個歸納整理說明，並對李曼瑰「反共」劇本的價值與影響評價出完整且深刻的結論。
her life, namely pre-studying abroad, post-studying abroad, during the Second Sino-Japanese War, and the time she lived in Taiwan, were discussed in Section 2. I concluded the chapter in Section 3.
In the third chapter, The Characteristics of Li Man-Kuei’s Anti-Communist Plays, I looked into the plots of the plays, examining the plays’ main ideas in Section 1. I explored the plays’ language features, which reflected the social-political environment and special linguistic features in that time in Section 2, and then analyzed in Section 3 the characterizations of the plays, which provided an overview of the social context and social events of the age. Section 4 was devoted to the discussion of the historical events and social contexts, including the changes of anti-communist sentiments, represented in the plays, sorted by common themes of the plays. The performance and audience acceptance of the plays were discussed in Section 5, and conclusion of the chapter was provided in Section 6.
In the fourth chapter, The Value and Influence of Li Man-Kuei’s Plays, I discussed Taiwan’s historical development manifested in the plays in Section 1, and argued that Li’s works played an important role in enriching the island’s theatrical works in Section 2. I described the “Little Theatre” movement of Taiwan, and the movement’s implication to Taiwan’s theatre in Section 3, and elaborated the strength of criticism in Li’s and other Taiwanese playwrights’ works in Section 4. The chapter was concluded in Section 5.
In the fifth chapter, Conclusion, I summarized the study, and provided more in-depth and completed analyses, along with a review of the value and influence of Li’s anti-communist plays. |
