Tian Han is one of the greatest Dramatist in the 20th century and he has made outstanding contributions to the theater .The Nanguo period is the concept of time when referred to a series of drama activities led by Tian Han in the 1920s. The image of Rangers has run through the Tian Han's dramatic creation during the Nanguo period, and it exists as the form of an entity, while it is expounding the characteristics of wandering spirit. This article starts from the image analysis of Tian Han's Rangers, combining with the image of Rangers in the Tian Han' theater during the Nanguo period, and then try to explore the artistic value of Tian Han-style Rangers image. This article explains the five aspects which are the concept of space, the state of life, spiritual significance, aesthetic qualities and the subjectivity selection Tian Han's Rangers image. Through the concrete analysis of Tian Han's Nanguo period of dramatic works, we make the rangers divided into the ones who show gesture directly and the ones who hidden in the social mask has the stray mind. Although the social image of the rangers are different, they show the same as the actual stray subject , which is to wander because of the freedom spirit. V Wandering is the theatrical characteristics of the Tian Han.It is full of poetic expression in the description of the rangers. At the same time, the image of the rangers is also a way of spiritual sustenance and spiritual sublimation, which is shown prominently as group stray image leading by Tian Han. Rangers image of Tian Han has its time limitations, but we should see that the wandering Consciousness has an important position in the dramatic creation during the Nanguo period of Tian Han. The image of rangers is a kind of spiritual sustenance for drama activities of Tian Han during the Nanguo period, and it is the soul of Tian Han's drama as well.

田漢是20世紀中國最偉大的劇作家之一，他在戲劇領域做出了卓越的貢獻。 南國時期是指20世紀20年代由田漢領導的一系列戲劇活動在時間概念上的統 稱。流浪者形象貫穿了田漢南國時期的戲劇創作，它以實體的形式存在，闡發了 流浪的精神特質。本文從田漢式流浪者形象的分析入手，結合田漢南國時期劇作 中的流浪者人物形象，探討田漢式流浪者形象的藝術價值。 本文從空間概念、人生狀態、精神意義、審美氣質和主體選擇五個方面闡釋 了田漢式的流浪者形象。通過具體分析田漢南國時期的戲劇作品，將流浪者形象 分為直接以流浪姿態出現的流浪者和隱藏在社會面具下具有流浪心態的流浪 者。雖然二者的社會形象不同，但表現出的實際的流浪主體是相同的，都是為了 追求精神的自由而流浪。 流浪是田漢體戲劇的特質，在對流浪者的描寫中充滿了詩性的表達。同時流 浪者形象亦是精神寄託和精神昇華的一種途徑，突出表現在田漢領導的南國式的 群體流浪。雖然田漢式的流浪者形象具有其時代局限性，但我們應該看到流浪意 識在田漢南國時期的戲劇創作中佔有的重要地位。流浪者的形象是田漢南國時期 戲劇活動的精神寄託，是田漢式戲劇的靈魂人物。 關鍵詞 田漢 南國 戲劇 流浪者