一九二、三〇年代臺灣知識分子新劇與中國戲劇的關係探討

臺灣新劇形成的兩大影響來源：日本與中國，前者的影響研究在近年來日益深積，然而後者的影響研究仍有很多空白，可說長期停留在「受文明戲及五四戲劇影響」這樣籠統的認識上，未追究其中的實質內涵，解釋其影響程度、範圍和時間究竟如何。本論文透過臺灣新劇人士在臺灣、日本、中國三地的往來活動，以及戲劇思潮、戲劇文本的流通，重新回溯日治時期臺灣新劇史，藉以釐清臺灣知識分子新劇與中國戲劇的實質關係及其限度為何的問題。論文有三個主要章節：第二章探討1920年代中國新文學運動與廈門通俗教育社，如何促使臺灣新劇的萌發，又由於這樣的學習經驗不足以深化臺灣新劇的發展，其影響力在20年代末期以後被日本所取代。第三章討論的是臺人在日本與中國劇界的接觸，焦點放在30年代吳坤煌和左翼劇人的交流上。第四章則是分析在臺演出的中國劇本。

關鍵字

新劇；留學生；吳坤煌；左翼戲劇；廈門通俗教育社；中國劇本

並列摘要

The formation of Taiwan’s New Drama was majorly influenced by Japan and China. While the former’s influence has been vastly studied in recent years, the research on the latter’s influence has remained marginal with a vague understanding that “Taiwan’s New Drama was under the influence of by China’s Crude Stage Play (bûn-bîng hì) and May Fourth Drama” without investigating its essence and explaining the scope, period, and degree of influence. On this account, in order to clarify the substantive relationship between Taiwan’s New Drama promoted by the culturally enlightened and China’s drama and its limitations, the author is dedicated to explore the history of Taiwan’s New Drama during the Japanese rule period through the exchange activities of Taiwanese new dramatists in Taiwan, Japan, and China, as well as the New Drama trend and the spread of texts. There are three main chapters in this study: in Chapter Two, the author discusses how China’s New Literature Movement and Amoy (Ē-mn̂g) Popular Education Club motivated Taiwan’s New Drama in the 1920s, and how the influence was replaced by Japan since the late 1920s due to the fact that the insufficient learning experience failed to accelerate the development of Taiwan’s New Drama. In Chapter Three, the author discusses the Taiwanese people’s contact with China’s drama circle in Japan, focusing on the exchanges between Ngôo Khun-hông (1909-1989) and left-wing dramatists in the 1930s. Lastly, in Chapter Four, the author analyzes the Chinese scripts played in Taiwan.