林獻堂看戲－《灌園先生日記》的劇場史觀察

二十世紀初期展開的臺灣近代民族運動史，從議會設置請願運動、臺灣文化協會、民眾黨到地方自治聯盟，林獻堂都是主要領導人，為臺灣人爭取政治權力，也倡導社會文化改造，鼓舞民眾讀報、看電影、聽音樂，以及觀賞具有文化意識的新戲劇。然而，林獻堂與文協、民眾黨同志的文化觀念不盡相同，他經常觀賞戲曲與民俗活動，此與其家族傳統有關，再則出自個人的文化素養。林獻堂留下的日記《灌園先生日記》有不少他觀賞戲劇的紀錄，內容極為簡略，常連戲園（演出地點）、劇團、戲碼、演員都未記述，亦少論及觀劇心得，唯獨對霧峰「一新會」文化劇演出十分投入，常參加演出後的戲劇討論會。他對戲劇有傳統「戲無益」的理性，但對於民俗信仰演戲、吃拜拜，又有從俗的同理心與地方「頭人」的人情味，不但不持反對態度，反而常常參與。《灌園先生日記》中反映了戲劇在文人階層的角色與現實社會本質，值得玩味。當時文化人參與的新劇，是以社會文化改革、提升劇場藝術為目標，但所能創造的風潮與影響，似乎只是少數人（如張維賢）的大聲疾呼，加上文化作家掌握論述權的結果。從戲劇觀點，《灌園先生日記》的重要性不在提供臺灣戲劇活動的重要訊息，而在顯現日治時期的臺灣戲劇生態，印證臺灣民間戲劇的基本型態與大戶人家在其中扮演的角色，以及臺灣近代民族運動、新文化運動人士間與戲劇相關的生活面相，這是《灌園先生日記》中戲劇部分最具價值之處。從林獻堂身上，觀察到士紳在延續傳統禮俗與接納現代文明之間的兼容並蓄，這也是傳統社會庶民大眾接觸戲劇的基本態度。

關鍵字

林獻堂；一新會；文化劇；張維賢；《灌園先生日記》

並列摘要

Lin Xiantang was an important leader in the unraveling of the modern history of the Taiwanese nationalistic movement at the beginning of the 20th century, from the establishment of petition movements by the Parliament, the Taiwanese Culture Association, People's Party to local self-governing associations. He strove to get political rights for Taiwanese people and also advocated for changes in society and culture, encouraging the masses to read newspapers, watch films, listen to music, and also watch new plays (Wenhuaju, Xinju) with their intrinsic cultural consciousness. Yet, Lin Xiantang's concept of culture was not entirely the same as that of the Taiwan Culture Association or the People's Party; he often took in traditional theatre and folk activities. This had to do with his family traditions, and it also stemmed from his cultural upbringing.In the diary left by Lin Xiantang, ”Mr. Guanyuan's Diary”, there are many records of his theatre going. The content is very brief, often not even mentioning the theatre (location of the play), the theatre troupe, the play or the actors. He also rarely mentions his thoughts on the plays, only expressing enthusiasm about the cultural performances by Wufeng's ”Yi Xinhui” and how he often participated in the post-performance theatrical discussions. He held the traditional rational view that ”plays possess no benefit”, yet he was tolerant and had a local elite's sympathy towards popular religious performances and religious offerings at temples. Not only did he not oppose these religious activities, he often participated in them.”Mr. Guanyuan's Diary” reflects theatre's role among the ranks of the literati as well as in society and is worth pondering. The plays that cultured persons participated in had as their objective a reformation of society and culture and an elevation of the theatrical arts. However, the fashion and influence they created was only called upon by a few people (like Zhang Weixian). What's more, cultural authors mastered the result of this discourse. From a theatrical perspective, the importance of ”Mr. Guanyuan's Diary” no longer lies in providing important information about Taiwanese theatrical activities but in showing the state of Taiwanese theatre during the Japanese Era; it corroborates Taiwanese popular theatre's basic model, the rich and influential families' role within it, Taiwanese nationalistic movements in modern times as well as aspects of the lives of activists in the New Culture People´s Movement in relation to theatre. These are the most valuable aspects of ”Mr. Guanyuan's Diary's” sections on theatre.Through Lin Xiantang we can observe the coexistence in literati circles of the continuation of tradition and the absorption of modern culture. This is also the basic attitude of traditional society and the masses in their contact with theatre.