一個戲劇的公共輿論空間－戰後初期臺灣報紙的戲劇特刊分析

抗戰時期，伴隨著話劇藝術的蓬勃發展，劇評是大後方報紙文藝副刊的重要內容，而副刊的戲劇特刊不僅是戰時的劇評特色，也成為戲劇批評風向指標的特殊窗口。戰後初期臺灣的報業亦因大陸內戰前國共兩黨和平談判的自由政治氣氛而曾有短暫欣欣向榮、百家爭鳴的景象，受到國家意識型態、現實物質條件、外省報人及其專業思維模式的影響，臺灣的官方及民辦報紙也複製了抗戰時期中國報紙文藝副刊的模式，將彼時在臺灣演出的中國劇作及其演劇活動，透過《和平日報》、《中華日報》、《自強報》、《自由日報》等文藝副刊之戲劇特刊介紹給讀者，此不僅促進了臺灣讀者理解和評價祖國劇作，同時並為其文本、演出注入了特定的意義與價值，使此之公共輿論空間成為文化認同、呼應時代與政治需要，以及戲劇傳播的重要管道。透過對於戰後初期五齣國語話劇演出刊載於報紙戲劇特刊的研究發現，作者幾為外省文化人、內容為劇本或演出的介紹多於劇場批評、反應及改造現實的主導原則為其三個特色。而此時間短、密度高的戲劇特刊現象不僅呈現出新政府對國語話劇在新生臺灣的推動力度及新聞界的支持度，話劇藝術因而得到密集宣傳及形象塑造，更因撰文者多為外省進步文化人，而使其輿論空間的公共性相對能夠發揮，而黨／軍／民間不同背景的報紙因報社所在地而更多地關注地方演劇活動則是另一普遍現象。

關鍵字

臺灣；戰後初期；戲劇特刊；話劇；新中國劇社

並列摘要

During the anti-Japanese war, with the prosperous development of modern dramas, dramatic criticism was important content of art and cultural supplements in newspapers of the home front. In addition, the special issues devoted to dramas in supplements were not only the features of dramatic criticism during the war, but also furnished a special window on dramatic criticism. In the early postwar period, Taiwan's newspaper industry had temporarily thrived and flourished because of the free political atmosphere during peace negotiations between the Kuomintang (KMT) and the Communist Party prior to the Chinese civil war. Due to the influence of national ideology, realistic material conditions, journalists of other provinces and their professional thinking models, Taiwan's official and civilian-run newspapers also duplicated the model of art and cultural supplements in Chinese newspapers during the war against Japan, to introduce readers to Chinese plays and other dramas performed in Taiwan through the special issues featuring dramas in art and cultural supplements of Peace Daily, China Daily News, Self-Strengthening Post and Liberty Daily. This not only urged Taiwanese readers to understand and evaluate dramas of their homeland, but also infused specific meanings and values into their texts and performances, which made public opinion an important channel for cultural identity, meeting the demands of the times and politics, as well as of the circulation of dramas. This study found that five Chinese modern dramas, published in the special issues for dramas in newspapers in the early postwar period, had three features: the authors of the dramas were mostly intellectuals coming from Mainland China, the introduction of plays or performances was more than dramatic criticism, and their guiding principles reflected and reformed reality. The special issues devoted to dramas that were short-lived yet frequently published presented the power of the new government to promote Chinese modern dramas in Taiwan, and the support of the press to intensively propagandize and form the image of modern dramas. In addition, as the authors of modern dramas were mostly intellectuals from Mainland China, the space of public opinion could be relatively elaborated. Moreover, it was another prevalent phenomenon that newspapers with different backgrounds-such as party-run, military-run or civilian-run-paid more attention to local drama performances because of their proximity to the locations of newspaper offices.