穿越邊界的演藝流動－以天勝一座帶回日本本土與自外地來團的表演者為討論中心

The Mobility of Performing Arts Across the Boundaries: On the Foreign Performers in the Tenkatsu Vaudeville Magic Troupe (Tenkatsu Ichiza) Invited to Japan by the Troupe

簡秀珍(Hsiu-Jen Jian)

《戲劇學刊》 36期 (2022/07) Pp. 107-143

摘要

天勝一座是奇術師松旭齋天勝（1886－1944）創立的表演團體，1911年在淺草帝國座舉行創團公演，不久即前往朝鮮、滿洲，再到臺灣表演。1913、1914年三度到上海，1923年12月起到美國與鄰近的加拿大城市巡迴一年半。「天勝」回到日本本土後，會推出一些宣傳為「某地特產」（お土産）的節目，大多數由巡演地帶回來的表演者演出，少數以外地特色為發想，由原有團員展演。在1925年前，自上海吸收俄國人、印度人，也自滿洲帶回波蘭母女舞蹈家。1925年從美國回日本後，帶來一隊爵士樂團、舞者維吉妮亞（ヴアジニア）、音樂家歐古諾夫（オグノフ）夫婦、土井平太郎等全國巡迴，也帶往臺灣、滿韓等地，並繼續招聘夏威夷的爵士樂團、中國京劇演員、劍劇團、雜技團、舞者，與來自美國的雜技高手松岡亨利（松岡ヘンリー）和自外國自行入團者等。他們除了表演外，少數人會進而指導團員，如歐古諾夫領導「天勝音樂團」與教導附設爵士樂團的日本樂手。本文以文獻分析法探討這些外來表演者與受巡演地影響的創作，分析二十世紀上半葉演藝的流動現象，並以土井平太郎與裴龜子探討表演者如何穿越國界與表演類型。

關鍵字

跨國展演 ； 裴龜子 ； 爵士樂 ； 天勝一座 ； 土井平太郎

並列摘要

＂Tenkatsu Vaudeville Magic Troupe＂ (Tenkatsu Ichiza) was founded by Magician Mme. Shōkyokusai Tenkatsu (1886-1944) and made its debut in 1911 at the Empire Theatre of Asakusa, Tokyo. The group soon toured abroad in Korea, Manchuria, and Taiwan, visiting Shanghai three times from 1913 to 1914 as well as the United States and Canada for a year and a half from December of 1923 on. Upon returning to Japan, Tenkatsu produced some programs promoted as ＂omiyage＂ (souvenirs), most of which performed by the talents invited from its oversea touring venues, and some of which, inspired by its foreign experiences, by its own members. Prior to 1925, the group had absorbed Russians and Indians as its members from Shanghai, and brough back Polish mother and daughter dancers from Manchuria. Posterior to 1925, after returning to Japan from the United States, the group invited a jazz band, a dancer named Virginia, a musician couple called Ugonoh, along with Heitaro Doi, to tour around Japan and visit Taiwan, Korea, and Manchuria. The group continued to recruit a Hawaiian jazz band, Chinese opera actors, groups of sword-play and acrobatics, various dancers, and a tightrope-walk performer Matsuoka Henry, in alliance with other foreign artists joining to the group of their own accord. Aside from performing, some of them also served as instructors, like Ugonoh who led the Tenkatsu Music Group and advised Japanese jazz musicians. This essay uses documents analysis to explore these foreign performers as well as Tenkatsu's creations affected by its overseas touring locations. It also analyzes the mobility of performing arts in the early half of the twentieth century, and explore how show artists, epitomized by Heiitaro Doi and Bae Kuja(Pa Gujia), traversed across national borders and performance genres.

並列關鍵字

transnational performance ； Shōkyokusai Tenkatsu ； Bae Kuja (Pa Gujia) ； Jazz ； Heitaro Doi

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