日本新劇與台灣「理蕃事業」－以川上音二郎、太郎冠者（益田太郎）為中心

川上音二郎（1864-1911）是明治時期的演員以及興業師，在1902年以及1911年兩度赴台，催生了以台灣為舞台的《奧賽羅》（1903）與《生蕃討伐》（1911）。喜劇作家太郎冠者（1875-1953），原名益田太郎，是三井財閥董事益田孝的次子。1906年進入台灣製糖株式會社擔任常務董事，1913年2月赴台，返回日本之後所寫的《台灣土產　喜劇　生蕃襲來》同年5月在帝國劇場上演，是由帝國劇場女優擔綱演出。川上音二郎與太郎冠者不僅在新劇的演出有合作關係，二人也無獨有偶地都創作了與台灣相關的戲曲，同時這些戲劇創作都與他們的台灣殖民地經驗有關。《生蕃討伐》（1911年7月）與《台灣土產　喜劇　生蕃襲來》（1913年5月）的創作以及演出背景是日本在台「理蕃事業」下催生的產物。本文將透過爬梳川上音二郎與太郎冠者的台灣經驗與前述的新劇創作，特別聚焦於日本在台灣的「理蕃事業」時期，檢視當時日本帝國在近代的進程中對新興殖民地台灣的統治，如何透過新劇來描摹「殖民地台灣」，以及以西洋為師進行改良的日本新劇，如何透過「殖民地台灣」的鏡像，折射出日本面對西洋時對其自身抱持的「後進性」所顯露的矛盾與恐懼。

關鍵字

日本新劇；理蕃事業；川上音二郎；太郎冠者

並列摘要

Kawakami Otojiro (1864-1911) was a Meiji-era Japanese actor and show proprietor who visited Taiwan in 1902 and 1911 to produce the new dramas Osero and Conquering the Barbarians respectively, both of which were based on colonial Taiwan. The comic drama writer Tarokaja - whose real name was Masuda Taro (1875-1953) - was the second son of the executive director of the Mitsui chaebol, Masuda Takashi. After finishing his studies in Europe, he became the managing director of Taiwan Sugar Production LTD and then visited Taiwan in February 1912 to write the drama Taiwanese Souvenir: The Invasion of the Barbarians. This play was shown at the Imperial Theatre (Teikoku Gekijo) in May of the same year. Kawakami Otojiro and Tarokaja not only collaborated in the production of these modern dramas, but also wrote them based on their impressions of Taiwan. Accordingly, this paper discusses both Kawakami Otojiro and Tarokaja's dramas in relation to their personal experiences - especially their involvement in the ＂the enterprise of ruling barbarians＂ (riban seisaku) - to examine how the Japanese Empire ruled colonial Taiwan during the era of modernization. Moreover, this paper explores how these dramas depict colonial Taiwan and reflect the fears and contradictions of Japan while confronting the Other-in this case, colonial Taiwan.