本论文以田汉二三十年代的写作为主要研究对象，通过文本细读，在国际左翼视野、社会主义运动史、世界民众戏剧运动等多重脉络中，考察田汉的戏剧思想，在民众视野中讨论田汉的先锋性。首先通过回溯历史形成的“现场”，考察青年田汉为何疏离东京高等师范学校英语课堂的原因，“逃课”之余，他积极参加社会运动，并广泛阅读劳动者问题、女性问题等社会问题方面的著述。其中，田汉最为关切的是“女子劳动者问题”，本论文在追溯其劳动问题理论来源的基础之上，讨论田汉早期戏剧实践是如何广泛转译世界文化资源，将对女子劳动者问题的关切编织进戏剧实践之中。同时也剖析了田汉戏剧中潜在的那条“唯美”潜流是如何与其女性书写相交织，以期突破长期以来对田汉思想和实践的断裂式解读。其次，挖掘田汉长期以鲜少引起关注的民众戏剧思想，在世界民众戏剧思想理论旅行的过程中，考察民众戏剧思想是如何从法国、英国经由日本转译、重构。田汉不仅广泛汲取罗曼·罗兰与威廉·莫里斯的民众艺术思想，在民众戏剧运动的实践中，也与日本新剧运动家小山内薰相遇。因此，本论文以田汉对小山内薰的转译与改造为线索，将中、日两国小剧场运动先驱与他们各自所领导的小剧场运动——南国与筑地相互参照，透过田汉之眼重新看小山内薰，重新看日本戏剧史，并由此重新看戏剧从西到东，再从东到西的流转。由此呈现中、日两国共同的民众戏剧运动困境，重审20世纪初民众戏剧运动与小剧场运动的跨文化实践遗产。但我们应当注意到，田汉与世界民众戏剧运动之间并非是单向的影响与接受关系，而是通过了翻译的变形与改造，并且始终与中国传统戏剧艺术形式、20世纪中国革命话语紧密相联。 最后，在国际左翼视野下，一方面以田汉对秋田雨雀访苏归来后所著《年轻的苏俄》的译介为主线，考察俄国十月革命的文学艺术遗产在亚洲怎样被解读、转译；另一方面，考察南国社与筑地小剧场在20年代是如何面对这场世界范围内的“共鸣危机”，如何重构表现主义电影、绘画和戏剧，从而汇流于20世纪的“观演革命”，并在先锋戏剧的探索中一步步走向民众。

This dissertation focuses on Tian Han’s writings from the 1920s to the 1930s. And through close reading, the dissertation aims to explore his theatrical thoughts in the multiple contexts of international left-wing vision, the history of socialist movement, and the world people theatre movement, which can be taken as windows on the avant-garde of Tian Han in the view of people. First of all, by looking back at the historical “scene”, this dissertation attempts to investigate what leads to young Tian Han’s departure from the English class of Tokyo Higher Normal School. He used to skip lessons to take an active part in social movements, and extensively read works in reference to social issues such as labor issues, women’s issues, etc. On the basis of tracing Tian Han’s theoretical sources of labor issues, this study elaborates on how Tian Han integrated the world cultural resources into his early theatrical practice and brought his most concerned issues of female labor into his theatrical practice as well. At the same time, the dissertation also probes into how the latent “aesthetic” in Tian Han’s theatre and his female writing have intersected, in order to bring together Tian Han's thoughts and his practice that have been long separated from each other as for interpretation of his works. Secondly, the dissertation sheds light on Tian Han’s people theater ideas that have been less considered. It investigates both the translation and reconstruction of people theater thoughts in the progressing from France and Britain to Japan in the background of world people theater. Tian Han extensively gets inspiration from the theory of people art proposed by Roman Rolland and William Morris, and encounters Osanai Kaoru, a Japanese new drama activist, in the practice of people theatre movement. Therefore, following the line of Tian Han’s translation and transformation of Osanai Kaoru’s theatrical thoughts, this dissertation provides a direct comparison of pioneers of the little theater movement in China and Japan and also makes a comparison between Nanguo and Tsukiji. This study reexamines not only the theatrical practice of Osanai Kaoru but also the history of Japanese theater from the perspective of Tian Han, and rethinks the interaction of theater from the west to the east and vice versa. It reveals the dilemma of people theater movement mutually shared by China and Japan, which enables us to reexamine the transcultural heritage of people theater movement and the little theater movement in the early 20th century. However, we should note that the connection between Tian Han and the world people theater movement is not a one-way relationship of influence and reception, but includes the transformation during translation, and is always closely related to traditional Chinese theater and the Chinese revolution of the 20th century. At last, in light of the international left-wing, on the one hand, this dissertation, along the line of Tian Han’s translation of Young Soviet Russia by Akita Ujaku after his return from a visit to the Soviet Union, examines how the literary and artistic heritage of Russian October Revolution was interpreted and translated in Asia. On the other hand, the dissertation illustrates how Nanguoshe and Tsukiji Little Theater were faced with this worldwide "resonance crisis" in the 1920s, and how they reconstructed expressionist films, paintings and dramas to overcome this crisis. In the end, they converged on the "watching and performing revolution" of the 20th century, and moved step by step towards people in the practice and exploration of avant-garde theater.