演劇與宣傳：彰化鼎新社及其新劇活動

彰化鼎新社（後來改稱彰化新劇社）成立於1923年12月，結束於1928年8月，是臺灣第一個以新劇研究為目的之戲劇團體。鼎新社帶動臺灣新劇（文化劇）蓬勃發展，是臺灣新劇運動中具重要地位的劇團，但其發展狀況仍有許多不明之處。本文首先以社員姓名為線索考察結社狀況，其次梳理劇團的發展始末，最後分析其演出特色，期使彰化鼎新社的樣貌立體化。鼎新社立不久之後開始與臺灣文化協會（以下簡稱文協）合作，帶領北港民聲社、新竹新光社等文協的附屬劇團，為文協的新文化運動提供具感染力的宣傳途徑。鼎新社的特色表現於政治性與藝術性兩方面。鼎新社青年基於政治宣傳目的而集結，也受政治因素影響而結束，他們的戲劇藝術可以說是與政治性相始終。由於他們的政治目的大於藝術目的，加之殖民政府的取締干預，劇團生命不長，致使劇場能量累積不足。不過，我們仍然可以從有限的史料看到鼎新社的戲劇特色。他們從中國新劇（文明戲）繼承「戲中演說」手法，將之應用於後來引進的五四時期社會問題劇，進一步發展出「以臨監警察激發民族情緒」的戲劇效果。這是他們對於中國戲劇藝術進行的變形繼承及再生產，表現出臺灣殖民地特有的藝術樣態。因此，鼎新社的新劇實踐展示了臺灣民族自決意識的追求精神，以及從臺灣人主體性出發的藝術生產。

關鍵字

新劇；文化劇；彰化鼎新社；彰化新劇社；新文化運動

並列摘要

Ding Shin Club of Changhua was founded in December 1923, and ended in August 1928, overarching in the prosperity of Taiwan New Drama (also called Cultural Drama) in Japanese colonial period, and yet its development has been cloudy so far. This paper aims to portray a total picture of Ding Shin Club's New Drama movement by first tracing its members' names as clues in order to clarify how the club was organized, and then its growing trajectory, and finally analyzing the features of its performance. After its establishment, Ding Shin Club of Changhua soon cooperated with Taiwan Cultural Association (TCA) to set up its subsidiary drama clubs like as Minshen Club of Beigang, Hsinguang Club of Hsinchu which employed drama as a vehicle to promote TCA's propaganda. The main features of Ding Shin Club can be depicted in terms of both its politics and art. Its young members were teamed up because of the political propaganda, and their activities came to an end also because of the political coercion. Because their drama activities were hardly separated from, and even were exceeded by political factors, along with the repression of colonial government, the life span of Ding Shin Club was not long enough to accommodate sufficient energy. However, limited historical materials can still reveal the features of this drama club. Inheriting from the style of ＂orating in play＂ of the civilized drama of China, Ding Shin Club applied it to the social problem paly of the May Fourth Movement, and further developed a dramatic effect called ＂the passive acting under policemen's surveillance＂. This is Ding Shin Club's creative inheritance and reproduction of Chinese dramatic arts, endeavoring to show the particular artistic styles of the colonized Taiwan. Therefore, Ding Shin Club's practices of drama demonstrate the spirit of purchasing national the self-determination as well as the artisitic production based on Taiwan's subjectivity.