1910~1950年西方表演形式戲劇在台灣的形成與發展－以宜蘭地區爲研究個案

本文以台灣東北部的宜蘭地區為例，以台灣文化協會的文化劇、學藝會中的兒童劇、青年團的青年劇三者的發展，勾勒出西方表演形式戲劇在台灣的形成與發展。「文化劇」的發展與台灣文化協會成員希望藉由戲劇啓迪民智有關，但因人員與財力的問題，宜蘭曾存在的「民烽劇團」(1928)與「醒民劇團」(1932)，都在成立不久後便解散。台灣兒童劇的發展與日本在明治維新後推展的新式教育有關。孩童在公學校、小學校學藝會的演出，其內容包括西方與日本的寓言、童話，並常改編課堂上所學的歌曲、偉人故事等，宣揚的主題從薰陶學童的品德到強調為國犧牲的行徑。青年劇的早期演出著重在破除迷信、政令宣傳、日語的推行，隨著皇民化運動的進行，在戰爭期間轉為演劇挺身隊，宣揚軍國主義思想。從日本官方直接指導的學校表演活動與青年團的青年劇、演劇挺身隊，都可以看到日本政府利用戲劇演出一邊慰問傷兵、戰亡士兵遺族，一邊持續鼓勵人們為天皇效忠。西方現代表演形式戲劇因其寫實的手法，在日治時期成為統治者或知識份子傳達思想的宣傳工具。西方表演形式戲劇的普及，與民眾在地接受新式學校教育，或遠赴日本、中國留學有關。一般民眾逐漸認為：「新劇」（話劇）活動參與者教育程度較高，「戲曲」演員教育程度較低，由於這種差別，也建立台灣人對「新劇」（話劇）與「戲曲」高低的偏見。 1950年以後，西方表演型式的戲劇演出雖然還是被大量採用，但內容已轉為反共抗俄路線，因為政治局勢的改變，戰後罕有人敢宣揚自己曾參與青年劇或演劇挺身隊的經驗。

關鍵字

宜蘭；日治時期；文化劇；兒童劇；青年劇；皇民化

並列摘要

This essay takes Yuan Region, in the northeastern Taiwan, as an example to show how western acting style formed and developed in Taiwan by discussing the development of ”cultural drama” produced by Taiwan Culture Association, child's play performed in schools' matinees and ”youth drama” made by the Youth Group (Seinendan). The development of ”cultural drama” had to do with the wish that members of Taiwan Culture Association had to cultivate the intelligence of the general public. However, owing to the personnel and financial problems, ”Minfong Troupe” (1928) and ”Xinmin Troupe” (1932) once existing in Yilan were both disbanded soon after they had been set up. The development of child's play in Taiwan had to do with the new education movement in Japan due to the Renovation during the Meiji Period. The content of the performances given by children in common schools and Japanese schools included western and Japanese fables, fairy tales, songs and stories of great people adapted from what were taught in class, whose themes ranged from cultivating children's virtues to emphasizing the value of sacrificing oneself for the country. At the early stage, ”youth drama” focused on getting rid of superstitions, promoting political orders and promoting the Japanese language. With the passing of the Kominka movement, ”youth drama” was transformed as the ”Theatre volunteer corps” (Engeki tenshin tai), promoting militarism. In performing activities of child’s play, ”youth drama” and ”Theatre volunteer corps” supervised directly by the Japanese government, we can find the Japanese government making use of dramatic performances to console injured soldiers and family members of deceased soldiers and at the same time to encourage people to continue their loyalty to the emperor. The popularity of western acting style is due to the fact that people received new school education in Taiwan, or studied in Japan or Mainland China. Gradually, the general public considered people attending ”spoken drama” better educated than those attending ”traditional theatre”. As a result, Taiwanese people started their prejudice against ”traditional theatre ” as lower than ”spoken drama”. After the year 1950, western acting styles, though still in great use, were adopted to promote the anti-communism and anti-Russia policy; because of the changed political situation, few people dared admit that they had joined the Youth Group or ”Theatre volunteer corps”. Consequently, the history of this period remained obscure.