《民族魂魯迅》是蕭紅在1940年為「魯迅誕辰六十週年紀念活動」寫成的啞劇劇本，經馮亦代等人改編，8月3日在香港孔聖堂演出。《民族魂魯迅》既是首部以魯迅為主人公的傳記式作品，又是現代作家對啞劇文體的試驗，這部作品如何試圖為具文學家、思想家、民族鬥士、青年導師等多重身份的魯迅定位，這個魯迅形象又如何通過跨媒介的方式來展現？更重要的是，從蕭紅的原創劇本到馮亦代的改編上演，魯迅的形象和定位也出現了重要變化，構成了一次詮釋魯迅的角力，這點前人未有討論，亟待探討。本文由圍繞《民族魂魯迅》的資料和文章出發，整理相關材料，重新考察這齣啞劇創作的過程與細節。接著，本文在跨媒介的視角下重讀蕭紅劇作，觀察劇內如何採用啞劇的新形式來再現魯迅，並以實驗與實踐兩方面分析作品的藝術性。最後，本文整理出馮氏對劇本作出的變動，探討其改編方針，從而比較出蕭、馮二人藉戲劇演繹、詮釋魯迅的兩種不同方法，並討論背後的文化意義。

National Spirit Lu Xu is a pantomime written by Xiao Hong in 1940. The script is then adapted by Feng Yi-dai and the other members in Wenxie, and presented on stage at Confucius Hall of Hong Kong on the 60th anniversary of Lu Xun’s birth, August 3 1940. This is the first biographical work with Lu Xun as the protagonist, and an experiment to incorporate modern literature into pantomime. How does the pantomime represent the image of Lu Xun, among the multi-identities like author, ideologist, fighter of the nation, mentor of youngsters etc. through a transmedia way? Moreover, there is an important change on the image and role of Lu Xun in the adaptation of Feng Yi-dai. This confliction on the two interpretations of Lu Xun has not been discussed in the previous research. The first part of this paper reviews the production and details of the pantomime by reorganizing the relevant articles and records. The second part discusses how Lu Xun is represented in a transmedia way by analyzing the artistry of the pantomime in experimental and practical aspects. The third part explores the adaptation of Feng Yi-dai, then compares the interpretations of Xiao Hong and Feng Yi-da, and discusses their cultural meanings.