理念、假設與詮釋：臺灣現代戲劇的日治篇

日治時期的臺灣新劇史有不同的發展面向、舞台風格與劇場評價，而且，在台日本人扮演一定的角色。然而，戰後回歸民國政府統治的台灣，檢視這一段被殖民的歷史，及其所孕育的文學、戲劇，早已以反殖民、反侵略的抗議精神與民族主義為論述的主軸。而在擺脫日本殖民統治，以去日本化、再中國化為治台基本方針的同時，戲劇的政治角色極為明顯，對於舞台與表演的監控與管制依然嚴格。近二十年來的日治時期戲劇研究呈現迥然不同的景象，不但風氣大開，研究的資料從當時的報刊、文化人日記、日人著作，研究的面向從戲劇家及其作品、演出，舞台體系、戲院演出與祭典演劇，即使傳統戲劇被禁、劇團演出被管制的皇民化運動時期，與戲劇表演相關的研究也層出不窮。然而，貌似蓬勃的戲劇活動之後，果真如此？單從報刊、雜誌所刊登的新劇資料，或皇民化時期出現的劇本集或相關論述很難具體反映日治時期新劇運動的生態，因為看似豐富的戲劇資料之徵稿或編輯多基於殖民統治，或瞭解社會運動、輿情的需要，後來更全面配合皇民化運動，以及大東亞戰爭的推行。日治時期新劇劇場效果如何，對當時的社會文化產生何種影響，仍值得回到當時的生態，作觀察、檢驗與解讀。畢竟，戲劇的創作與演出不僅是一種理念，更是實踐的過程與結果。

關鍵字

新劇；改良戲；高松豐次郎；呂赫若；川上音二郎

並列摘要

Taiwan modern theatre, New Drama (新劇) performances during the Japanese occupation, had various developmental tendencies, stage styles and appraisals; what's more, Japanese people in Taiwan had a definite role in it. However, a Taiwan that returned to the control of the Kuomintang government after the War, had already early on adopted a discourse dominated by an anti-colonization, anti-aggression spirit of resistance and nationalism in its examination of that history of colonization and the literature and theatre it nurtured. Furthermore, while extricating itself from Japanese colonial rule, with the adoption of the fundamental governing policies of de-Japanization and (increased) Sinicization and due to the moving of the Kuomintang Government's capital to Taipei as a result of the Civil War, Taiwan became the centre of the 'Anti-Communism and Recovering the Mainland' policy. With such a sacred mission, theatre's political role became highly obvious while the supervision and management of the stage remained strict. In the last twenty years the study of theatre during Japanese rule is marked by an utterly different scene, not only has the general mood opened up, but the research materials include newspapers of the time, diaries of people involved in culture and works by Japanese writers, while research tendencies include dramatists and their works, performances, stage systems, theatrical performances and religious ceremonies. Despite traditional performances being prohibited and despite the control exercised over theatrical societies' performances during the Kominka Movement, studies about theatrical performances have been emerging one after another. However, were these seemingly flourishing theatrical activities really so? New Drama material from newspapers and magazines and from the collection of play scripts that appeared during the Kominka period or related discussions, by themselves, can hardly precisely reflect the state of New Drama during Japanese rule because what appears like the rich collection of manuscripts and the editing of New Drama material was for the sake of colonial rule, or to understand social movements, and for public opinion, afterwards they were even more the result of the collaboration with the Kominka Movement and the promotion of the Greater East Asian War. What were the effects of New Drama theatre under Japanese rule, what kind of influence did it have on the society and culture of the time? To answer these questions, it is still worth going back to the state of affairs at the time, to conduct one´s observation, examination and interpretation. After all, the creation and performance of theatre is not only a concept, it is more the process and result of practice.