謝雪紅,彰化人。出身赤貧,幾成文盲,曾為養女及商人妾。日後卻留學莫斯科,成立台共。二二八時在台中帶領武鬥。然後以台灣民主自治同盟主席身份參與中共建國。
謝雪紅的故事曾淹沒在一甲子以來複雜的政治對立和鬥爭中,與時俱變的浪潮亦常在她身上沖刷出不同的色彩。汪其楣以獨角戲的形式,在2010年演出《謝雪紅》。讓這位不平凡的女性站上舞台,為自己的意志及感懷說話。
這個台灣戲劇文本已由李耀宗翻譯成英文,2018年由允晨文化以中英對照方式編排出版。希望在台灣或世界任何地方的英語讀者,也能參與台灣當代劇本的閱覽與朗讀,認識這位勇敢、傑出的女性,也聆聽台灣舞台上許多動人的故事。
Hsieh Hsueh-hung(17 Oct 1910—5 Nov 1970),leader of the Communist Party of Taiwan in the early years, is the fascinating and admirable character of this play.
Inundated by a churning chaos of political opposition and struggle, the ebb and flow of time have had their effect on Hsieh Hsueh-hung, painting her story in many different lights.
In Wang Chi-Mei’s one-woman play entitled Hsieh Hsueh-hung, the playwright allows this extraordinary figure to take the stage, speak of her own ideals, and give voice to her own feelings. Produced and performed in Taipei and Tainan in 2010, the script was translated into English, and published with the Chinese version together in 2018, in the hopes that English readers both in Taiwan and elsewhere in the world can learn more about this brave, outstanding, and mercurial woman from Taiwan’s historical and cultural past.
作者簡介:
汪其楣,臺大中文系畢業,美國奧勒岡大學戲劇碩士,台灣資深戲劇家。她所編導的作品風格醇厚,細緻動人,以台灣人情與環境為題材的《人間孤兒》系列之外,也曾致力於聾人手語戲劇三十餘載,影響深遠。
她更擅長女性角色刻劃,並親自主演《舞者阿月—台灣舞蹈家蔡瑞月的生命傳奇》、《歌未央—千首詞人慎芝的故事》、《謝雪紅》等台灣女性經典角色。
此外還有戲曲相關作品《賞心樂事—汪其楣觀劇閒散筆記》、《浪漫傳奇拜月亭》。散文集《海洋心情—AIDS文學備忘錄》,編撰《歸零與無限—台灣特殊藝術金講義》、《歌壇春秋》。主編《戲劇交流道—劇本系列》、《現代戲劇集》、《國民文選‧戲劇卷》。她最新作品是為了校園推廣而寫的《青春悲懷—台灣愛滋戰場紀實戲劇》。
曾獲1993年吳三連文學獎、2004年賴和文學獎。
譯者簡介:
李耀宗,輔仁大學數學學士,美國密西根大學數學碩士,擔任紐約聯合國總部中文同聲傳譯超過三十年。英譯中的書籍包括索爾‧貝羅《更多的人死於心碎》、戴維‧懷斯《特工卡西迪》,另外也將王安憶、徐城北、葉欣、陳村等中國名作家的作品及《上下五千年》譯成英文出版。
章節試閱
第一場
場景 巡邏艦艇光明號的甲板上
時間 1947年5月21日夜晚(二二八之後謝雪紅離開台灣)
(音樂)(海浪音效)
(謝雪紅從船艙往空無一人的甲板上來,悶咳幾聲,張望一下)
最危險的地方,就是最安全的地方。
「燈台下暗」(toudai-moto-kurashi)在燈台底下,反而最暗,謝雪紅,妳要坐國民黨的船才出得去。
剛才上船,奧巴桑故意給他們扶著走,懋棠說這三位拜託了,紅包拿過去(動作),沒有盤問。船一開,大家就放心了。
這個蔡懋棠在左營要塞司令部上班,聽說我們找船找得很急,他就去問到這艘巡邏艦艇,跟艦長講好,讓我跟克煌,還有周明,搭個便船。
Act I
Scene Deck of patrol boat the Shining Light
Time Night of May 21, 1947:Hsieh Hsueh-hung leaves Taiwan in the
aftermath of the February 28 Incident
(Music)(Sound effect of ocean waves)
(Hsieh Hsueh-hung emerges from the boat’s hold onto the deserted deck,looking about her in a fit of muffled coughing)
The most dangerous place is often the safest.
As the Japanese say: “Toudai moto kurashi.” Darkness reigns at the foot of a lighthouse. Hsieh Hsueh-hung! A KMT military craft may just be your ticket out of danger!
When boarding the boat, I, feigning a frailty befitting an obasang, allowed myself to be supported by the others. Maotang said: “Please take care of these three” as he handed over the red envelope(gesture). We were spared the usual questioning and security checks. A heavy weight was lifted off our hearts only when the boat lifted anchor.
Cai Maotang, who works inside the Garrison Command of Fort Zuoying, found this patrol boat for us after learning that we were desperately looking for a boat. He got the boat commander to agree to give me, Kehuang and Zhou Ming, passage on his craft.
他親自來彰化接我,一個穿了白色軍裝的國民黨海軍大尉,出現在我面前,真的給他嚇了一跳。
在火車上就假裝是他的老媽媽。他穿了軍服,我又一直裝睡,沒有引起注意。
聽二妹說,全島各地,都在廣播,用五種不同的語言,全面通緝我:國語、台語、客家語、日本話,還有高山話。
「捉到謝雪紅,活的三十萬;死的,二十五萬。」把我打死也有二十五萬!我真值錢呢!二妹還一面跟克煌開玩笑,「喂~你們一個人三十萬,兩個人有六十萬,哇,真可惜,回來的時候要還我哦!」
還妳,一定還妳,這些錢至少可以蓋一間新房子。到時候我們回來的那一天,二妹妳要什麼都可以。
還有小弟;做我弟弟真的有比較倒楣,二七部隊一退進埔里,蔣匪軍就開到台中,沒收了你的大華酒家當師部辦公室。這次我又連累了弟弟。你以後想再開店,想幹什麼都可以,愛去訓練一支棒球隊也可以。等我回來。
今天能平安離開,就是有一天要回來。
(張望)(海面上黑)
Cai came in person to Zhanghua to pick me up. It gave me a start when this lieutenant of the KMT navy, in white uniform, appeared before me.
On the train, I pretended to be his elderly mother. We didn’t attract any attention because he was in uniform and I feigned sleep all the way.
According to my younger sister, there was an APB out for me all across Taiwan, broadcast in Mandarin, Taiwanese, Hakka, Japanese and a mountain dialect.
“A reward of 300,000 yuan for Hsieh Hsueh-hung captured alive and 250,000 if dead.” I do fetch a high price! Even dead I’m worth 250,000! My younger sister,in her gallows humor, said to Kehuang: “Hey, you’re worth 300,000 a piece. That adds up to 600,000 for the two of you. Too bad I can’t collect it now. Make sure you compensate me when you come back.”
You will be compensated. I’ll make sure of that. You could at least build a new house with that kind of money. When we return, sister, you can ask anything from us.
And I won’t forget my younger brother. You’ve suffered simply because you happen to be my brother. Once the February 27 Brigade retreated to Puli, Chiang Kai-shek’s bandit troops marched into Taizhong and seized the premises of your Dahua Restaurant for use as their division headquarters. I got you into trouble again this time. Just wait for my return. Then you can open another store or do anything you want. Coach a baseball team even! Just wait ‘til I come back.
If I can get out safely today, one day I’ll be able to come back.
(Looks about)(The sea is shrouded in darkness)
海面上這麼黑,今天是五月廿一號,初幾了?月亮還沒出來嗎?
那邊一塊一塊的,是鹽田?還沒有過濁水溪嗎?
中央山脈在哪裡?我怎麼什麼也望不見?只有星星。
這次起義還是失敗了,我一時也無法成立人民政府,我們準備不及,連絡不周,誰都措手不及,不過年輕人真的很勇敢!願意拿起武器,參加戰鬥。
國民黨政府有沒有了解人民的抵抗呢?有沒有聽到一點點人民的聲音?最後,還是守不住埔里,也無法退入霧社,只好把武器埋藏起來解散部隊,不能讓太多人犧牲。
二二八之後,從上海飛到台灣的第一架飛機,就把黨中央的命令帶來了。
黨中央要我們立刻離開台灣,四月中給了四萬台幣做旅費。四萬元不夠,但意思是很清楚的了。找船不容易,走私船有,但麻煩很大,又危險。克煌彰化、鳳山來回,到處想辦法。
It’s so dark on the sea. Today is May 21st. What day of the lunar month is it? Why hasn’t the moon come out yet?
Are those patches salt flats? Haven’t we passed the mouth of the Zhuoshui River yet?
Where is the Central Mountain Range? Why can’t I see anything except the stars?
This uprising was another failed attempt and I wasn’t able to form a people’s government in the time we had. We were overtaken by events because of insufficient preparation and poor communication. But the young people showed great courage in taking up arms to join the fight.
Has the KMT government got the message of the popular resistance? Has it heard the voice of the people, even if only a bit? In the end we weren’t able to hold Puli, nor were we able to retreat to the relative safety of Wushe. To avoid further casualties, we decided to stash away our weapons and temporarily disband.
The orders of the Central Committee of the Party arrived on the first plane to fly from Shanghai to Taiwan immediately after the February 28 Incident.
The Central Committee wanted us to leave Taiwan immediately. We received 40 thousand Taiwan dollars in mid-April for our travel needs. The amount was insufficient, but the thinking of the party was sufficiently clear. Finding a boat hasn’t been easy. There are smugglers’ boats but they are more trouble than they’re worth, given the risks. Kehuang shuttled between Zhanghua and Fengshan, trying to arrange one way out or another.
我目標太大,只有躲起來。從魚池到水里,走山路經過集集,再到竹山,走過一大片竹林,走了好久才找到張家。張太太看到我就抱住我。她一聲也不哭,就一直抱住我,就一直抱住我。
張茂良是上海建黨的老同志,代表台灣青年讀書會,黨綱是他一個字一個字抄的。對,正好二十年前,一九二七、二八在法國租界,我們一起被抓,他從窗戶看到日本便衣,就大聲通知我,給我時間處理文件。被日本特務抓去關的時候,我跟茂良說,「革命家是沒有失業的」,他馬上會意,「是的,坐牢也是革命的工作,沒有失業,沒有失業。」可恨,在監獄,他給日本法西斯害死了,大兒子昭田,二十歲不到,又在虎尾機場,被蔣軍打死,我真……,我很想在張太太家多住幾天。
從梅山那邊傳來消息,平地很緊張,軍警每天突襲檢查,要我不能久待在一個地方。
回去和美,在老親戚家躲了兩晚,再去彰化,住克煌伯父的舊房子。
I had to find a hiding place because I was too visible a target. I walked from Yuchi to Shuili, over the mountains through Jiji to Zhushan. I finally found the Zhang house after trekking through seemingly endless bamboo thickets. When Mrs. Zhang saw me, she pulled me into her arms, without uttering a sob, but holding me for what felt like an eternity.
Zhang Maoliang, an old comrade, was present when the Communist Party of Taiwan was founded in Shanghai, representing the Taiwan Youth Study Group. It was he who took the pains of copying down the Party platform verbatim. Yes, it was twenty years ago, in 1927— or was it 1928 when we were arrested together in the French Concession in Shanghai? When he saw the Japanese plainclothes he raised his voice to alert me so that I would have time to dispose of documents. When we were led away by the Japanese secret agents to prison, I said to Maoliang: “A revolutionary is never out of work.” He understood immediately, replying: “Yes, going to prison is also part of our revolutionary work. We are not out of work. We are never out of work.” While in prison he was tortured to death by the hateful Japanese fascists. His eldest son Zhaotian was barely 20 when he also died at the hands of Chiang Kai-shek’s troops at the Huwei airport. I wanted to stay with Mrs. Zhang for a few more days but….
News from Meishan was that the situation was tense in the plains, with the military and the police daily sweeping the towns and raiding houses, hunting for me. I was told not to stay too long in any one place.
I returned to Hemei and hid in a relative’s place for two nights before traveling to Zhanghua to hunker down in the old house of an uncle of Kehuang’s.
第一場
場景 巡邏艦艇光明號的甲板上
時間 1947年5月21日夜晚(二二八之後謝雪紅離開台灣)
(音樂)(海浪音效)
(謝雪紅從船艙往空無一人的甲板上來,悶咳幾聲,張望一下)
最危險的地方,就是最安全的地方。
「燈台下暗」(toudai-moto-kurashi)在燈台底下,反而最暗,謝雪紅,妳要坐國民黨的船才出得去。
剛才上船,奧巴桑故意給他們扶著走,懋棠說這三位拜託了,紅包拿過去(動作),沒有盤問。船一開,大家就放心了。
這個蔡懋棠在左營要塞司令部上班,聽說我們找船找得很急,他就去問到這艘巡邏艦艇,跟艦長...
作者序
讀她,演她──《謝雪紅》
謝雪紅是我主演過的第三個台灣當代女性典範人物。而且是一齣獨角戲。
演過《舞者阿月》的蔡瑞月老師,《歌未央》的慎芝女士之後,常有朋友問我下次要演誰?一再被問也是甜蜜的負荷。腦海中不時浮現這兩部戲書寫期間,漫天舖地人物背景的文圖資料;和排演場上,穿梭來回輪番與我對戲的數十個人影,主角永遠不能鬆懈或休息,就如聶光炎前輩所說的:「舞台是千萬個折磨,換取片刻的迷人。」
但也許我不怕折磨,只盼找到那個迷人的焦點。演誰呢?舞蹈家、歌曲家之後該演畫家了嗎?的確我想過陳進,她的畫有獨特之美,但我更想由藝術家的世界逃脫,我希望無論是誰,一定要跟前述二位女主角一樣,勇敢地突破自己身處的時代,並且擁有在困境中開創新局的不凡性格。
有這種人生經歷的真實人物一定不少,但誰更富有傳奇性?或誰是更有革命情懷的女子?讓我願意再度累掉半條命,像二○○四年為蔡老師、二○○七年為慎芝姐一樣,又因扮演她們,活過她們的人生,在她們的時代中呼吸,無時不感到對角色的親密和讚嘆,我多麼期盼觀眾看見不一樣的台灣女性,無論經由觀劇或閱讀,走進她所處的社會環境,讓真實人物站在真實的故事脈絡中,對世代觀覽者說話。
反覆回到台灣歷史裡來沉吟、思索,這次我來演謝雪紅怎麼樣?朋友初聞都「哇」的大叫一聲。我選中這個人物,自己卻一點也不意外。從小不時聽人提過她的名字,廈門來的伶俐鄰居、巷口賣酸梅湯的阿伯。從八○年代編導「人間孤兒」系列的劇作開始,也常在台灣史相關書籍裡讀到她,只是那段期間,我全神貫注庶民的生活世界,從家庭所反映的文化和情感來搬演台灣,就把這樣的「領導」級人物擱在一旁了。
而在鑽進二二八和白色恐怖的歷史文獻之時,牽動我心的也是周圍的人,那些生活在台灣,或親人仍然還在這裡的人。二二八之後她就離開台灣,去大陸了。彼時的「謝匪雪紅」不但還沒引起我的特別注目,而且有點面貌模糊,和童年漫畫中,戴著八路軍帽子的某種形象相去無幾。
不過,卻因為她是女性,在各種史料書冊中翻查時,發現對她的描述常帶著輕視、狎戲、甚至刻薄的形容,反而會讓我再多看兩眼,更在我心裡劃下了無數記號。
在編導完幾部台灣戲之後,接著更為聚焦在女性角色的刻畫,讓各式各樣珍藏在我們共同記憶裡的女子,有機會站到舞臺上,展現她們的風貌和性情,在語言和動作中,顯露她們的思緒及立場。
搬演戲劇與閱讀所提供的視野,有很大的關係。九○年代中期,更多的書籍出版了,論述、史料、小說、記傳和口述歷史,悉心剖露近代史上最噤啞壓抑的時代。
即使是阿月和慎芝,這兩位輕聲曼語、儀態溫雅的女性藝術家,在她們傑出才華表現的背後,都因政權轉換、親友牽涉,也曾有不為人知的牢獄之災。一般人厭惡政客、疏離政治,想把高壓和紛擾關在門外,但無形的監控依然徘徊在身邊。相對於阿月與慎芝的無辜,那麼這位穿起軍裝,帶領二七部隊在台中武鬥的謝雪紅,她可是有全然的自覺,並且不懼一切的衝進政治的巨浪之中。
捧讀幾十本從各方蒐羅來的書籍之初,左翼的歷史和台共的分合是較難消化的部分,但讀到各類記傳、訪談及小說等等,卻往往令人動容,不忍釋卷。謝雪紅出身寒微,又是個女人,對她不服氣的男性太多了。但與她再對立,對她再感冒的作者,也必須在書中為她這個厲害角色特立篇幅詳加描述,這實在有意思極了。
幸運的是,找到與她最貼近的這兩本書,謝雪紅口述《我的半生記》由她的秘書及情人同志楊克煌筆錄,從一九○一年她出生寫到一九二九年的日警搜查國際書局的初次逮捕行動。應是她用生前最後的時光,與楊先生合作記述。楊克煌在一九七○年謝去世後完成自己《我的回憶》,從他出生的一九○八寫到一九四七年二二八事件後,他倆一起離開台灣的情形。我也和許多研習台灣文學作家的讀者一樣,閱讀謝雪紅的《我的半生記》感到至為珍惜,因為她的特殊視角,比歷史家或文學家所呈現的內容和感情截然不同,更填補了二十世紀前半臺灣人民的生活記述。
她有困苦的童年,沒法上學,卻處處流露機靈,自尋生路。她先被賣到洪家做童養媳,受盡苦毒。後又贖身成為張姓商人的妾,隨他到神戶及青島、上海、杭州等地,目睹受帝國主義欺侮的社會,和站起來反抗強權的轉型運動。她曾在杭州拜秋瑾墓,再次到紹興瞻仰秋瑾被殺頭的地方。她看到十月革命的照片,工農兵仆倒在皚皚雪地,身上噴灑出來的鮮血令她大受感召,竟自行改名「雪紅」。她不但是第一個在台中騎腳踏車的女性,當跨國公司「勝家」縫紉機業務員,她也是在杭州、上海投入五卅慘案街頭運動的熱血女子。
當時尚未分家的國民黨和共產黨先後吸收她,讓她進入于右任當校長、瞿秋白當系主任的上海大學社會系,半年後又被選派到莫斯科去接受第三國際的共產洗禮。她見過斯大林、托洛斯基、列寧夫人這些大頭目。至少跟年輕的蔣經國打過照面。她思想活潑、勇於發言,極受師長矚目,兩年後,她被賦予成立「台共」的任務。
她被捕後,在日本法庭上的雄辯,在獄中九年的艱辛,和她串聯「農組」及「文協」一樣令人刮目相看。她在中台灣帶領二二八的武鬥已夠驚人,逃脫之後,她還到香港成立了「台盟」,一九四九年中共開國大典,她謝主席還跟毛主席一起登上天安門。
此人不是普通的共產黨,也不是陰險沒感情的共匪,她有愛有恨,也有政敵,她開除別人也被人開除。她在鬥爭場合放言反斥,不肯認罪,死不低頭。讀她所激發的力量不同凡響,演她更形成我心中巨大的願望。
然而,當我著手籌備謝雪紅的演出時,卻漸漸發現,除了常讀台灣史,或特別了解政治,還有特別關心左派的年輕人之外,很少人認識謝雪紅。與我同輩的對她略知一二,還會問我她是女俠還是女強盜?年長的先生女士們明哲保身,也會小聲探問:「真的可以演她?沒有問題,不是禁忌了嗎?」
解嚴前後我們老取笑彼此心中有一個警總,多年後要我們完全走出心理上的緊張或慎重,也不容易。而今天不管做什麼事,要閃得掉意識形態的顏色對立,無視於標籤上身,也真是個挑戰與考驗。
立場不同,書還是要讀,戲還是要演。我與她的信仰更不同,我仍然可以為她的狂熱、她的勇氣喝采。為她受辱於同志,受制於黨派而辛酸。為她堅守卻很可能失落的理想而長嘆。
讀她,演她──《謝雪紅》
謝雪紅是我主演過的第三個台灣當代女性典範人物。而且是一齣獨角戲。
演過《舞者阿月》的蔡瑞月老師,《歌未央》的慎芝女士之後,常有朋友問我下次要演誰?一再被問也是甜蜜的負荷。腦海中不時浮現這兩部戲書寫期間,漫天舖地人物背景的文圖資料;和排演場上,穿梭來回輪番與我對戲的數十個人影,主角永遠不能鬆懈或休息,就如聶光炎前輩所說的:「舞台是千萬個折磨,換取片刻的迷人。」
但也許我不怕折磨,只盼找到那個迷人的焦點。演誰呢?舞蹈家、歌曲家之後該演畫家了嗎?的確我想過陳進,她的畫有獨...
目錄
人生是一場探求真理的旅行 廖志峰
劇場的謝雪紅值得不斷探索 邱坤良
讀她,演她──《謝雪紅》 汪其楣
一位摩登革命家 汪其楣
演獨角戲,拉回飄流的線索 汪其楣
Life's Jouney Ought to be an Unending Search for the Truth–– about Hsieh Hsueh-Hung
《謝雪紅》中英對照劇本
Hsieh Hsueh-Hung a Play in Chinese and English
雪地中綻放的血色之花──施懿琳、王婉容談《謝雪紅》
人生是一場探求真理的旅行 廖志峰
劇場的謝雪紅值得不斷探索 邱坤良
讀她,演她──《謝雪紅》 汪其楣
一位摩登革命家 汪其楣
演獨角戲,拉回飄流的線索 汪其楣
Life's Jouney Ought to be an Unending Search for the Truth–– about Hsieh Hsueh-Hung
《謝雪紅》中英對照劇本
Hsieh Hsueh-Hung a Play in Chinese and English
雪地中綻放的血色之花──施懿琳、王婉容談《謝雪紅》