論文發表人：王俐文 (加州大學爾灣分校戲劇研究所博士班)
http://www.athe.org/conference/past/2010
http://www.athe.org/files/pdf/10ConferenceProgram.pdf
一九四九年國民黨政府撤退來台之後，於「復興基地」台灣大興反共抗俄運動。在五○、六○年代，中華民國政府以豐厚的獎金全面收編文藝各界，鼓勵文藝創作者發表任何形式的反共抗俄作品。在各類藝文作品之中，反共抗俄劇的成績斐然。根據李曼瑰的估計，在二十年之間，戲劇作品的產量即超過三千部以上，以當時戰後蕭條的民生與經濟條件而言，實在是不容小覷的文化成就。儘管反共抗俄劇往往因其過份渲染的政治意識形態而為當今的戲劇學者們所詬病，然而，反共抗俄劇在五○年代的台灣劇場內風行一時，卻是不容否定的歷史事實。反共抗俄劇在當時台灣社會的流行指出此劇種並不能以單純的政治文宣作品(propaganda)等閒視之；相反的，它反映了五、六○年代台灣文化、社會、與政治三者密切結合的一段歷史現實。在反共抗俄劇中，國共兩黨之間的戰爭往往被濃縮成兩性之間的衝突︰在雙方相互爭鋒之際，無辜的女性市民往往成了政治鬥爭下的犧牲品。透過強暴民女的戲劇情節，反共抗俄劇在妖魔化共產黨的同時，也讓為女性復仇的國民黨軍隊增添英雄的色彩。女體，在反共抗俄劇之中，不僅成了國共兩黨間政治角力的戰場，更是雙方男子氣概的競技場。
After its retreat to Taiwan in 1949, the Kuomintang government started anti-communist movement on the land of Taiwan. During the decades of 1950s and 1960s, the government provided huge amount of awards to lure art workers into serving for the government's political stand. Artists were encouraged to create anti-communist art works of various genres. Under the political guideline of anti-communism, drama had reached its great achievement in Taiwan. According to Mangui Li's estimation, more than 3,000 plays had been created during those two decades. Considering the terrible post-war economy and livelihood, such cultural achievement in drama and theater seems something to be proud of. Although this theatrical genre is much criticized by dramatists nowadays for its overwhelming political ideology; nevertheless, the popularity of anti-communist play in Taiwan in the 1950s was an undeniable historical fact. Thus, anti-communist play cannot and should not be examined merely as a political propaganda. Its existence reflected a historical reality that was inseparable from the cultural, social, as well as political reality in Taiwan in the first two decades after the retreat. Moreover, in anti-communist play, the confrontations between the Kuomintang government and the Chinese Communist Party are condensed into inharmonious gender relationship: All too often, innocent female civilians are sexually violated by the communists when the political confrontations occur. On one hand, the dramatic plot of raping female civilians demonizes the image of Chinese Communist Party; on the other hand, it also projects heroic images upon the soldiers who serve for the Kuomintang government and revenge for the female victims. In other words, in anti-communist play, female body is the locale where both political confrontations and masculinity competitions take place.
