從《水竹居主人日記》看日治時期常民生活中的演藝活動

A Study of Common Life Entertainment in Taiwan During the Japanese Colonial Period from “The Diary of Chang Li-Jun”

許書惠(Shu-Hui Hsu)

指導教授 ： 簡秀珍

國立臺北藝術大學/文化資源學院/傳統藝術研究所/碩士(2009年)

https://doi.org/10.6835/TNUA.2009.00030

摘要

探討臺灣社會的演藝活動，不僅僅只能從演員、藝師、劇團、劇種等相關從業人員的角度出發，作為一場有效發生的演藝活動，觀眾也是很重要的角色。張麗俊以及他的《水竹居主人日記》，提供了我們以張麗俊作為觀眾的代表，進而探究日治時期常民社會中演藝活動的樣貌，和演藝行為具有社會意義的內涵。首先，本論文以清領末期到日治時期，臺灣社會經濟的改變，以及漢人開發豐原的歷史，對張麗俊的生平，和他所處的漢人社會，兩者社會背景的基礎有所理解。
張麗俊接觸過的演藝活動類型，包括戲劇（改良正劇）和戲曲，戲曲的部份在演出的的形式上包括外臺演劇和室內劇場演劇，也包含人戲和偶戲（布袋戲、傀儡戲）；在內容上則包含各式不同的劇種（正音戲、亂彈戲、白字戲、九甲戲、歌仔戲、採茶戲、潮調布袋戲，以及日本戲）。音樂類型的活動，包括子弟吹唱、藝妓彈唱、各種音樂性陣頭的排場（包括大鼓鬧、北管、南管等等）。
張麗俊也看電影（包含新聞、知識、娛樂、劇情各種影片）、使用留聲機聽唱片（戲曲唱片）、聽廣播（內容為梨園歌曲、絲竹音樂），張麗俊還看魔術表演、雜技表演（包括一般收費觀看的演出，以及弄鐃）、動物表演、馬戲團表演。他也曾看過日本藝妓的歌舞、日本女優，以及在日本旅遊時觀看東京寶塚演出。
還有許多在臺灣人「鬧熱」的場合裡面，比如迎神、放水燈、出殯的時候，有各種音樂性的陣頭，包括大鼓鬧、音樂隊、軒園子弟、北管、南管、八音、小八音、大鑼嘯角花隊、絲竹音樂和大旂鼓等等，也有具有扮演性質的藝陣和藝閣，比如地上演（落地演）、蜈蚣藝（蜈蚣棚）、藝妓歌唱（藝閣）、獅陣、風鼓藝、棹仔藝、日本藝等等。普度放水燈的時候，還有放水燈時才能見的燈牌。此外，在官方色彩濃厚的「行列活動」裡面，也有以扮裝參與的假裝行列。
第五章中進一步企圖實踐演藝活動在社會中所處位置的觀察。首先從張麗俊在書寫習慣中，反應的對「演戲、拜拜、請客」可能的想像，思考豐原各街庄迎聖母的活動，在信仰活動的基礎中，而成為地區人民用以互相交陪的網絡。地區人民互動的密度，以及村庄之間的關係，便是一場信仰活動顯現出來的，或者是盛大或者是冷清的關鍵。以及，藉由一場開放免費觀賞的演藝活動的舉行，請主在這樣的場合之中，對其目標觀眾欲進一步界定或建立或修正彼此之間的關係。在這一類型的演藝活動發生的場合中，「觀眾」便不是或站或坐在舞臺前面看演出的那些人，而是指向這些人背後的那個社會，而請主便藉此與社會（或者說是當地社會）達到互動。
除此之外，也利用張麗俊在日記當中的記載，作為一種史料，而對豐原一地的演藝活動狀况，進行在歷史角度上的觀察。包括1930年代左右的全球不景氣，對於演藝活動的影響，和張麗俊記載對演藝活動禁止和限制項目的整理，最後觀察張麗俊日記中記載女性觀看演藝活動的情形，除了離開豐原一地可能需要男性協助之外，基本上也十分多采多姿。

關鍵字

張麗俊 ； 豐原 ； 傳統戲曲 ； 民俗 ； 漢人社會

並列摘要

The audience, besides performers, craftsmen, theatrical groups and the type of drama, is also an important part of performing arts when it comes to studying performing arts of Taiwan. Chang Li-Jun and “The Diary of Chang Li-Jun” represent as the “audience” to look into the common life entertainment in Taiwan during the Japanese colonial period and the social meaning of performing acts.First of all, we will make out the background of the life of Chang Li-Jun and the Han-society that he lived by the changes of society and economics in Taiwan from the waning days of the Qing dynasty to the initial stage of Japanese occupation.
Then we find out the type of performing arts that Chang Li-Jun ever experienced including the drama called “improved drama(改良正劇)”, traditional opera including the theater whether open-air or indoor, performed by people or by puppet such as Taiwan Glove Puppet(布袋戲) and String Puppet Show(傀儡戲). And it contains many kinds of traditional drama like Chinese Traditional Opera(正音戲), Luantan Opera(亂彈戲), Baizi Opera(白字戲) , Jiu Jia Opera(九甲戲), Taiwanese Opera(歌仔戲), Hakka Tea-picking Opera(客家採茶戲), Glove Puppet with accent of Chao(潮調布袋戲) and Japanese Opera. Moreover, musical performances by zi-di(子弟), geisha, and static performances by musical troupe like Cart-Drum Array(鼓陣), peikuan and nankuan. Also, movies aim to convey news, knowledge, entertainment, and feature films. He played records by using gramophone as well, and it contained records of traditional drama. He listened to the radio with programs of traditional opera and music. He watched magic shows and acrobatics including those people need to pay for it and other ones for free because the activities of religious belief called lane-nao(弄鐃). There are still contents about animal shows, circus performances, Japanese geisha, Japanese actress and Tokyo Takarazuka(東京寶塚) in his diary. It also mentions the festive occasions that contains yi-chen (藝陣) and yi-ge(藝閣) such as celebrations of greeting gods, parade of water lanterns(放水燈) and funeral procession(出殯) with variety of different groups.
In the fifth chapter, we will take a further look at the status that the performing acts to be in the society. The writing habits of Chang Li-Jun probably reflect his imagination about the celebration of Mazu(媽祖、天上聖母) in villages under Feng Yuan become a network for residents to keep in touch with each other by acting, worship and feast, base on the religious activities. The key point of a religious activity shows lively or lonely depends on the degree of interaction between residents and the relationship among villages in this area. People who pay for a public performance may take a chance to establish or revise relationship between he and his target audience. In this case, the “audience” will not only refer to the people standing or sitting in front of the stage but point to the whole society behind those people, and the master take this opportunity to interact with the society, or the local community.
In addition, we also take a look at performing activities in Feng Yuan from a historical perspective using the diary of Chang Li-Jun as a kind of historical sources, including the influence of the global depression in 1930’s, and forbiddance and restriction on performing activities recorded by Chang Li-Jun in his diary. Last, we will observe the situation of female watching performing arts. It shows that they may need help from male just when the performances take place outside of Feng Yuan. Otherwise, basically the performing arts activities of female are also rich and colorful.

並列關鍵字

Chang Li-Jun ； Feng Yuan ； Traditional Drama ； Folk Custom ； Han society

參考文獻

王志弘（2007）。在人群中感受規則：法律感性在臺灣之既有、擬製與重構。國立臺灣大學法律學研究所碩士論文，未出版，臺北市。

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陸方龍（2006）。試論日治時期來臺福州班的劇種問題。民俗曲藝，151，145-184。

林美容（1990）。彰化媽祖的信仰圈。2009年5月15日，取自：http://twstudy.sinica.edu.tw/twstudy/han/mazu/mazu.html#part3

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