臺灣一九五○年代國語話劇的過渡與重整

二戰結束後，因接收臺灣的國民黨政府「去日本化」、「再中國化」的文化施政，以及戲劇相關法令的頒訂實施，國語話劇遂成為彼時臺灣劇壇主流，由來臺演出之職業話劇團、軍中演劇隊、業餘話劇團及學生演劇共構出的「臺灣劇運」成果，實為五四以迄抗戰之中國話劇在臺的集中壓縮展示。待一九四九年底，國民黨政府因內戰失利撤退來臺，新一波對具共產黨員身分、「陷／附匪」及左傾劇作家作品的禁演，導致殘缺、變異的中國話劇在臺取得獨尊身分，彼時此與話劇傳統割裂但又必當為之的文化重整作為，對後來的臺灣話劇發展及戲劇教育都產生深遠的影響。我們不宜以反共戲劇概括整個一九五○年代臺灣國語話劇的發展。在國民黨政府主導反共戲劇創作、演出之前，國語話劇曾出現頓時因劇本荒而導致演出犯禁劇本的過渡現象，是為中國話劇傳統在臺灣的變形延續；而話劇演員的多元背景及因寫作獎勵而有的編劇集結現象，則對彼時的話劇演出、戲劇教育及影視發展有深刻的影響；再則，國民黨政府以國家機器進行文化霸權形塑，透過文藝政策、組織成立、獎金獎勵、劇展舉辦及校系開辦等措施，有效重整了「自由中國」的國語話劇發展樣態，此一自我設限又自我加強的封閉戲劇系統，是臺灣戲劇史上一段值得留意的反共戲劇之外的複調現象。

關鍵字

臺灣；國語話劇；反共戲劇；文化重整；張道藩

並列摘要

Since the end of World War II, the implementation of cultural policies for ＂de-Japanization＂ and ＂re-sinicization＂ by the Nationalist government (the National Government of the Republic of China) who took over Taiwan, and the promulgation and implementation of drama laws and regulations, have made Mandarin drama mainstream in Taiwan's drama industry at the time. The outcome of the ＂Taiwan theater movement＂ co-constructed by professional drama troupes, military drama troupes, amateur drama troupes, and student drama troupes performing in Taiwan substantively displayed a centralized and condensed representation of Chinese dramas in Taiwan from the May Fourth Movement until the beginning of the war. Toward the end of 1949, the Nationalist government retreated to Taiwan after losing the civil war. A new wave was set off of banning communist performances, forbidding those who might be ＂communist occupied/communist attached＂ and prohibiting leftist drama authors, causing incomplete and variant Chinese dramas to achieve a dominant status in Taiwan. At the same time, the cultural reorganization practices that separated from the drama tradition, and were yet deemed inevitable, had a profound influence on the development of Taiwanese drama and drama education. It is inappropriate to summarize the development of Taiwan's Mandarin drama in the 1950s with anti-communist drama alone. Prior to the Nationalist government-led anti-communist drama creations and performances, Mandarin drama had gone through the transition from playing banned drama scripts due to a shortage of scripts, which was the continuation of the transformation of Chinese drama tradition in Taiwan. The multi-faceted background of the drama actors and the phenomenon of ＂screenwriters gathering＂ for writing rewards on the other hand had a profound impact on drama performances, drama education, and television development at the time. Furthermore, regarding the Nationalist government's cultural hegemony shaping through the state apparatus, by using cultural and art policies, establishment of organizations, incentive bonuses, drama exhibition holdings, school department commencement, and other measures, the ＂free China' Mandarin drama development was effectively reorganized. This self-imposed and self-reinforced closed drama system is a polyphonic phenomenon outside anti-communist drama worth noting in the history of Taiwanese drama.