搬演「台灣」：日治時期台灣的劇場、現代化與主體型構（1895-1945）

Staging ‘Taiwan’: Theatre, Modernization, and Subjectivity Formation of Taiwan during the Japanese Colonial period (1895-1945)

石婉舜(Wan-shun Shih)

指導教授 ： 鍾明德

國立臺北藝術大學/戲劇學院學術論文/戲劇學系博士班/博士(2010年)

https://doi.org/10.6835/TNUA.2010.00090

摘要

本論文以通俗劇場為研究取徑，主要探討日本殖民統治臺灣51年間，發生在戲劇場域的臺灣人的現代化經驗。
二十世紀之初，隨著殖民地城鎮戲院的普及興建，臺灣劇場史步入了現代。此後一直到殖民統治結束為止，殖民者、戲院經理人和殖民地知識人各懷目的，試圖主導臺灣戲劇活動發展。戲院先是為了日人軍民的慰安娛樂之需而興建，至1900年代晚期，具有殖民者代理人身份的高松豐次郎視戲院為殖民教化裝置而使之普及，並在輸入、放映電影的同時，創造以台人觀眾為對象的「臺灣正劇」劇場，藉以臣民化臺灣人，達到協助穩固殖民統治的目的。
當殖民者備妥社會教化機關，戲院競爭回歸市場機制之後，中國戲曲熱潮興起，正劇活動萎靡。1920年代的戲院環境中，「老歌仔戲」和包含正劇、文明戲、京劇與福州戲等在內的同時代流行戲劇彼此交化而形成歌仔戲。戲院催化著近代享樂精神的發達，在歌仔戲迅速風靡全島的過程中，知識人從中洞察到殖民地的社會現實受到遮蔽，甚至，通過流行戲劇的意識型態複製，民族�階級的壓迫被固著乃至強化，因而以「新劇」為重要啟蒙手段，並由此同時展開對戲劇現代化的自主追求。
1930年代中期，臺灣總督府採取激進的殖民地同化政策，形成「獎勵新劇」、「舊劇漸禁主義」的戲劇方針。地方上主管戲劇事務的警界人士在皇民化運動風潮下積極介入戲劇發展，劇團機巧應對之餘，殖民地觀眾在此過程中展現主體的能動性，對官方施策形成反挫，使其不得不作出調整。知識人則利用太平洋戰爭爆發前後地方文化振興論的歷史契機，賡續新劇運動並重新定義「鄉土」、召喚我族。持續七、八年的劇壇混亂局面，最後在戰時官方的戲劇統制的暴力性中落幕。殖民統治遺留給臺灣社會一個劇場詮釋共同體——即在語言上以混用台、日語為其邊界、在美學上呈現混雜性特徵的「殖民地新劇」。
終日治之世，臺灣人的戲劇現代化經驗有別於正常國家。殖民者數度製造符合統治利益的現代劇，意圖達到馴化、臣民化台灣人並形塑其認同的目的。充滿時間焦慮感的知識人，在資源、經驗都有限的情況下，其戲劇創作通俗化的道路崎嶇難行。因此，「殖民地新劇」可說是一般民眾與日本的殖民暴力長期遭逢的最後結果。

關鍵字

通俗劇場 ； 高松豐次郎 ； 戲院 ； 臺灣正劇 ； 新劇運動 ； 殖民地新劇 ； 新派劇 ； 歌仔戲 ； 文明戲 ； 皇民化

並列摘要

This dissertation employs popular theatre as the research site to investigate the Taiwanese’s experience of modernization in the sphere of theatre during the fifty-one year period of Japanese colonial ruling over Taiwan.
In the beginning of the Twentieth Century, along with the widespread establishments of colonial town-based theatre, the history of Taiwan theatre stepped into the modern. Thereafter and till the end of colonial period, colonist, theatre manager, and colonized intellectual respectively entertained different purposes, struggling for dominating the development of the Taiwan theatrical activities. In the first place, theatre was built for the need of the Japanese populace and soldiers for entertainment. Up to the late 1900s, Takamatsu Toyojiro（高松豐次郎）, who was identified as the representative of colonist, regarded theatre as an institutional mechanism of colonial indoctrination and thus popularized it, with not only the import and projection of films, but also the innovation of the theatre of Taiwan Seigeki (臺灣正劇) which targeted Taiwanese as the audience in order to domesticate Taiwanese into the subjects of the Imperial Japan, and to help consolidate the ruling authority.
When other institutions of social indoctrination were well prepared by the colonist, and when the competition among theatres returned to market mechanism, the rising of Chinese opera alternated with the ebbing of Seigeki. In the circumstances of theatre of 1920s, Old Koa-a-hi,（老歌仔戲）intermingled with other genres of popular theatre, including Taiwan Seigeki, Wenmingxi（文明戲）, Beijing Opera（京劇）, Fuzhouxi（福州戲）etc., and evolved into Koa-a-hi（歌仔戲）, or Taiwanese Opera. When theatre, coupled with the popularity of Koa-a-hi that swept over the entire island, catalyzed the flowering of epicureanism, the colonized intellectuals came to realize that the social reality of colony was thus buried, and even the oppression of nation/ class was reinforced through the reproduction of ideology proposed by the popular dramas. Therefore, they took ‘New Drama’（新劇）as the important means of enlightenment; meanwhile, they also consciously began their pursuit of the modernization of drama.
In the mid-1930s, the Office of the Governor-General（台灣總督府）practiced the radical assimilation policy, and consequently the principles of ‘rewarding new drama’ and ‘gradual prohibition of old drama’ took shape. Encouraged by the trend of ‘Kōminka (formation of imperial subjects) movement’（皇民化運動）, the local police, who then were in charge of the drama affairs, actively intervened in the development of drama. Despite the agile responses of theatre groups to this intervention, however, the audience of colony demonstrated their initiatives which turned out to be the setbacks to the official policies and forced them to be made some adjustments. It follows that the colonized intellectuals took this historical opportunity of the surging discourses on the revitalization of local culture（地方文化振興論）shortly before and after the outbreak of the Pacific War, continued the ‘New Drama’ movement and redefined the concept of ‘native land’（鄉土）in order to call forth the Taiwanese national spirit. The chaos in the sphere of theatre lasted for seven or eight years and the violence of the official unification imposed upon drama brought down curtain on it. To sum up, the colonial rule left Taiwan society a theatre of interpretative community which, linguistically speaking, was clearly bordered by the mixture of Taiwanese and Japanese; and, aesthetically speaking, was characterized by a kind of high hybrid. It is the ‘Colonial New Drama’.
Throughout the Japanese colonial period, the Taiwanese’s experience of the modernization of drama differed from that of other normal countries. The colonist produced the ruler’s interest–oriented ‘modern drama’ more than once with view to not only taming and subjecting Taiwanese but also reshaping their national identity. For the temporal anxiety-loaded intellectuals, the limited sources and experiences made their road towards the popularization of dramatic creations tortuous. Thus, the ‘Colonial New Drama’ can be regarded as the final result of the long lasting confrontation between the Taiwanese populace and the Japanese colonial violence.

並列關鍵字

popular theatre ； Takamatsu Toyojiro ； theatre ； Taiwan Drama ； New Drama Movement ； Colonial New Drama ； Shinpa Drama ； Koa-a-hi(歌仔戲) ； Wenmingxi(文明戲) ； Kōminka

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