文學作家、劇本創作與舞台呈現－以楊逵戲劇論為中心

近二十年來，日治時期台灣新劇史的研究者日多，以文學作家戲劇作品為題材者也不乏其人，楊逵戲劇作品的研究成果尤為豐碩。然而，戲劇創作，除了創作者本身的能力，還要客觀的政治、社會經濟與文化環境，也需要各種劇場元素的配合。從日治時期至戰後初期，台灣社會並未提供上述的條件，既無經常性演出的劇團，也缺乏編導演與戲劇人材培育管道；演戲的內容受到監控，創作所使用的文字／語言也常被箝制。尤其楊逵劇本多屬街頭劇型式，有些是在綠島監獄創作，不論是日治、國府時期，統治者對於這種明顯「聚眾」的演出型式，不是採取壓制的手段，就是利用做為宣傳的工具。環境如此，楊逵創作的劇本，很難具體反映群眾內在真正的問題，也少有正式演出的機會。至目前為止，研究楊逵戲劇作品的論述多偏向情節主題與象徵意義，至於作家的戲劇理念如何形成？劇場能量如何？在缺乏有利環境、劇場條件不足的情況，他的文本能否演出，似乎並未注意，或視為理所當然。因此，從楊逵的創作劇本頌揚其人，究竟是對作家的「愛屋及烏」，還是作家的戲劇作品本身就具有極高的藝術性或深刻文化內涵？頗讓人玩味。本論文的重點與其說討論楊逵的劇作，不如說探索楊逵研究延伸至戲劇議題所呈現的現象及所反映的問題，也嘗試從劇場與社會文化的角度，探討楊逵的戲劇作品與劇場經驗，期望透過楊逵戲劇作品的研究，進一步瞭解日治時期台灣戲劇發展生態，以及文學作家作品與戲劇創作、演出的關係。

關鍵字

楊逵；怒吼吧！中國；街頭劇；築地小劇場；錦上花

並列摘要

In the past two decades, research on Taiwan's New Drama (xinju) history during the Japanese Occupation period has gained prominence. The works of Taiwanese writer Yang Kui are a special focus, though he is not the only writer in Taiwanese theater. Besides a writer's talent, other requirements for writers' involvement in theatre include a favorable political, social economic and cultural environment, with a combination of various theatrical elements. However, from the Japanese Occupation era to the postwar period, Taiwan society not only lacked these conditions, but also failed to nourish theater intellectuals such as directors and actors. Theater troupes neither held frequent performances nor created and performed freely. Most of Yang Kui's theatre work was performed street theater style. Both Japanese and the Chinese Nationalist Party (KMT) governments oppressed such theatre, or used it as mere political propaganda. Therefore Yang Kui's drama could hardly reflect the real inner problems of the masses, and had little chance to be staged. So far most discourse on Yang Kui concentrates on his theater works' themes and symbolic meanings. Nevertheless, how he formed his concept of the theatre, how the dynamics of his theatre were created, how his context was played out in all kinds of unfavorable dramatic environments-all go unnoticed or just taken for granted. Therefore, this paper aims to unravel the social phenomena and issues related to Yang Kui's theatre, researching the development of Taiwanese theater during the Japanese Occupation period and the relation between literature and script writing, as well as performances from Yang Kui's works.