- 學位論文
眾樂之堂：臺北中山堂（公會堂）藝文展演研究
The Hall of Music and Entertainment:The Research of Arts and Cultural Performances of the Taipei Zhongshan Hall(City Public Hall)
摘要
日本政府自明治維新以來效法西方國家各項舉措政策，廣建地方公會堂即為其一。公會堂原始意義乃起源於古希臘城邦，提供人民自由集會活動使用的場所──「Agora」，然而，以躋身四大公會堂之姿落成的臺北公會堂，不僅是日本帝國海外第一的殖民地治理成果之展示，其肩負政府戰宣機器的任務性亦相當顯著。經歷戰爭末期臺北大空襲之難，在臺北城內官方建築幾乎無一倖免的情況之下，臺北公會堂竟毫髮無傷，並於戰後易主更名為臺北中山堂。 1949年國民政府遷臺，裝備齊全的臺北中山堂自然為中央集會首選之地，因而與政府中央形成緊密關係，具有高崇的政治象徵。然而，臺灣早年各項社會文化條件青黃不接，臺北中山堂作為戰後初期臺北唯一大型場館，在藝文環境中所扮演的角色亦甚是關鍵；透過梳理八十年來臺北公會堂至中山堂的歷史，本論文將指出藝文性貫穿其發展脈絡的確證，於此亦可呼應日本學者新藤浩伸所言──公會堂總是不可遏止地轉變為以藝文活動性質為主的場所。新藤浩伸亦提出「內在矛盾」之說，指主政者期待公會堂扮演教化角色，而人民卻因生活娛樂與文化需求參與公會堂活動，兩者具有根本性的矛盾；當鏡頭轉移至地處殖民地的臺北公會堂，筆者認為此種矛盾同樣存在，不同的是，它猶如出自公會堂譜系遠播的種籽，持續生長，開展出具地方性的獨特新生命。 本論文以報紙資料庫作為主要範疇，結合中山堂內部分保存資料、報紙廣告、二手資料、以及訪談內容作為論述之題材與佐證；根據超過6000筆藝文展演史料，筆者提出「公民集會空間」、「社教空間」、「政教空間」重新定義臺北中山堂空間意義涵納的三個層次，此三者兼容其中，隨時局演變相互消長。本論文即據此觀察臺北中山堂空間意義實踐的豐富變化。其中，Agora精神最鮮明的實踐乃出現於戰後初期公會堂轉變為中山堂的過渡階段，尤以百花齊放的藝文展演為精彩；往後再如1960、1970年代，臺灣年輕人受到來自大環境的文化影響與衝擊，乃至反思諸己的探索反映於藝術創作，諸多展演─熱門音樂會、混合媒體實驗展演、民歌音樂會─均以臺北中山堂為舞臺。 作為二十世紀前半葉的現代建築，如今臺北中山堂已具有古蹟定位，雖然就硬體而言不符部分新型演出的需求，然其風采無可替代，仍在臺北藝文地圖中佔有一席之地；它興衰起伏、花落再開的歷史是本論文試圖挖掘的重點。筆者以為，Agora精神不僅並未隨臺北公會堂時代消逝，反而內生於其中，進一步造就臺北中山堂在臺灣藝文發展史上的重要地位。
並列摘要
The Government of Japan has followed all kinds of policies from the western world since the Meiji Reform. Building city public hall is one example. The city public hall provides citizens with a place for any activities. Its original meaning comes from the city public hall of the ancient Greek cities, “Agora”. However, in this case, the Taipei city public hall, just finished before the WWII, is not only an achievement of the first colony ruled by the Japanese government but also a visible part of propaganda machinery during the war. After the air raid on Taipei, most public buildings couldn’t have a narrow escape. However, the Taipei city public hall was kept in a good condition fortunately. The Taipei city public hall was renamed “Taipei Zhongshan Hall” after the end of war. In 1949, the National Government moved to Taiwan. Being fully equipped, Taipei Zhongshan Hall was the best choice for government meetings. Therefore, it formed a close relationship with the National Government and was symbolic of a high political status. After WWII, the social and cultural conditions of Taiwan faced temporary shortage. Being the only big place, the Taipei city public hall played the most important role after the WWII. By carding the history from Taipei city public hall to Taipei Zhongshan Hall spanning about 80 years, this thesis tries to realize the “characteristic of art and cultural” of the Taipei city public hall. And this issue responds to what the Sindo Hironobu say—— city public hall becomes a place where the focus is on characteristics of art and cultural unstoppably. Sindo Hironobu pointed out the “internal conflict” that the ruler of colonial government hoped the city public hall would be given a character of enlightenment, but the people participated in the activities in city public hall because of the need of life and entertainments. While focusing on the Taipei city public hall, I found there also exists the conflict. The difference was, it grew up continuously and developed a brightly local life. This thesis focuses on the data bank of newspapers and combines parts of files, newspaper ads, and secondary data kept by Zhongshan Hall internally, and interviews as evidence. According to over 6000 historical data of art activity, I put forth “space for citizen assembly”, “space of social education”, “space of politics” to redefine the meanings of space. The three meanings of space above changed with the ebbs and flows of current political situations. This thesis tries to observe and analyze the abundant changes of the meanings of Taipei Zhongshan Hall. The vivid practice of spirit of Agora emerged in the period of transition from “city public hall” to Zhongshan Hall at the initial stage after WWII. Later on, in the 1960s and 1970s, the young people in Taiwan received the impacts from the social culture. The impacts reflect on even the art creation of self-examination performed in Zhongshan Hall like pop music, experiment of mixed-media, the exhibition of modern music, the folk songs. All of the performances are on the stage of Taipei Zhongshan Hall. As a modern building in the first half of the twentieth century, Taipei Zhongshan Hall is now a historical site. Although it can’t always meet the need of every need of performances today, its elegant demeanor is still irreplaceable, playing an important role in the art activities of Taipei. In addition, this thesis tries to reveal the ups-and-downs history of the Taipei Zhongshan Hall. In my opinion, the spirit of Agora didn’t fade away when the the period of Taipei city public hall was over. Instead, the spirit of Agora came into being intrinsically and made the Taipei Zhongshan Hall stand on the important position in the phylogeny of art in Taiwan.