日治時期台灣青年劇之研究

本論文以皇民化時期在台灣推進之作為<健全娛樂>的<青年劇>為研究對象。目前為止和青年劇有關的研究重視在對台灣人的教化以及皇民化政策的關係。本研究的目的是透過分析青年劇的社會定位和劇本，探索於皇民化時期台灣戲劇研究之新的可能性。各章中的結論總結如下。第一章考察了《新建設》雜誌上的文章和參與皇民奉公會的知識份子對娛樂或文化的論述。結果，《新建設》上有很多娛樂的種類，且娛樂被要求必須健全。背景是，皇民奉公會認為在總動員制度下，具有團結大眾力量的娛樂很重要，除此之外，地方文化的振興也在皇民奉公會的指導下繁盛地進行著。第二章整理從1930年代到1940年代青年劇的演變。為了普及國語以及提升鄉土意識而演出青年劇，筆者追溯青年劇成為<青年演劇運動>的過程。戲劇領導人將作為<健全娛樂>的青年劇定義為<青年演劇運動>，並寄予各種期望。此外，從知識分子對當時的流行演藝做的批判，可以看出知識分子對演出青年劇的青年要求<健全>的樣貌。第三章考察了第二次世界大戰爭後，皇民奉公會出版的《青年演劇脚本集　第一輯》和《青年演劇脚本集　第二輯》的劇本。第四章考察了<志願兵> 如何在青年劇劇本和小說裡表現。<志願兵>被認為是青年劇劇本的特徵主題之一。結果，筆者在這之中看到皇民化時期的台灣青年在社會階級中成為志願兵的樣貌。

關鍵字

健全娯楽；皇民化；青年劇；青年演劇運動；日治時期台湾演劇

並列摘要

This study focuses on "youth drama," which was recommended as a "wholesome entertainment" in Taiwan during the Japanese colonial period. Previous studies on youth dramas have discussed the indoctrination of Taiwanese people and its relation to the imperialization policy. This study aimed to explore new possibilities for the study of Taiwanese theater during the imperialization period by analyzing the social positioning and scripts of youth drama. What was revealed in each chapter is summarized below. In Chapter 1, I examined articles in the magazine New Construction and the discourses on entertainment and culture by intellectuals related to the Imperialist Feng-Gong Society regarding entertainment and culture in Taiwan during the period of imperialization. The results show that the genres of entertainment in "New Construction" were diverse, and that entertainment was expected to be wholesome. Under the general mobilization regime, entertainment with the power to organize the masses was regarded as important, and this was the background against which the promotion of local culture flourished under the leadership of the Imperial Service Association. In Chapter 2 summarizes the evolution of youth drama from the 1930s to the 1940s, and traces the process by which youth drama, which were performed to popularize the national language and raise local awareness, became the "youth theater movement. Youth drama, which was recommended as "wholesome entertainment," was defined as a "youth theater movement" by theater leaders, who had various expectations for it. In addition, criticism of the popular entertainment of the time reveals the "wholesomeness" that the intellectuals were looking for in the youths who performed youth theater. In Chapter 3, we examined scripts from the " Youth Drama Script Collection 1" and " Youth Drama Script Collection 2" which were published by the Imperial Association for the Promotion of the People after the outbreak of the Asia-Pacific War. In Chapter 4, I examined how the "volunteer soldier," which is considered to be one of the characteristic themes of Youth Drama Script s, is represented in Youth Drama Scripts and novels. What emerged as a result was a picture of Taiwanese youths who became "volunteer soldiers" within the social hierarchy.