近代大眾戲劇和傳統文化－以沖繩芝居為例

近代東亞大眾戲劇市場由於經歷與異國、異文化的衝擊性接觸，遂將以往各自的文化統視為傳統，企圖創造出適合「現在」的文化。沖繩的近代是指被納入以近代國家為目標的日本版圖內、推動日本化的時期。沖繩的「傳統」文化「御冠船踊」和「唐躍」，是在琉球王國時代形成、發展出的王府外交工具，並非為了大眾而產生。沖繩芝居這種近代沖繩大眾戲劇在短短三十年形成，並且深植於當地人心中。沖繩的「傳統」文化和日本戲劇對大眾而言都屬於「他者」，而沖繩戲劇從這些「他者」中利用了什麼、又捨棄了什麼，受大眾支持的「自」文化是經過何種歷程而形成。本文將試從其創造方法，探討沖繩「他」、「自」關係的特徵。

關鍵字

大眾演劇；近代；傳統；日本化；沖繩芝居

並列摘要

After encountering foreign countries and clashing with alien cultures, modern East Asian theatres defined their own cultures as ＂traditional＂ and aimed to establish new cultures suitable for modern time. For Okinawa, the modern age started with the modernizing Japan's occupation and with Okinawa's Japanization. Both Oganse Odori and Toudori, Okinawa's ＂traditional＂ culture, emerged and developed during the rule of Ryukyu Kingdom for diplomatic purposes rather than for public entertainment. Shibai, as a kind of modern Okinawa theatre, gained widespread popularity within only thirty years. Okinawa's ＂traditional＂ culture and Japanese theatre were both ＂others＂ to the people of Okinawa. What did Okinawa popular theatre adopt from these ＂others＂ and what did it leave out? How did Shibai gain support from the locals as a culture of their own? This paper examines the creation of Shibai to explore the unique bonds between Okinawa's ＂others＂ and ＂self.＂