日治時期宜蘭地區慶典中的遊藝活動

本文透過《台灣日日新報》的報導，瞭解宜地區日治時期的宗教慶典、神社祭典與天長節等公眾節慶中的遊藝活動，分析慶典的籌備情形與組織架構、遊藝活動的發展、台日人民相互合作的情形，並探討遊藝活動的轉變與當時社會環境的關係，檢驗日本與台灣文化的交互影響。 1937年皇民化運動全面展開之前，在台的日本慶典吸納了台灣戲劇、音樂的演出，而台灣的祭典中也受日本慶典影響，出現「假裝遊行」。然而在1937-1945年皇民化運動期間，台灣戲劇的演出與廟會遶境全數被禁，神社與天長節的慶祝活動反而越形熱烈，日本殖民政權藉由神社參拜、戰勝時的提燈遊行，強化台灣人對日本殖民政權的認同，然而這一切在戰爭落幕後，也隨之消散。

關鍵字

日治時期；慶典；宜蘭；表演

並列摘要

The purpose of this text, on the basis of the reports in the newspaper Taiwan Ririxin Bao, is to have an understanding of the performing arts in religious festivals, Shinto Shine worships, and the celebration of the Emperor's Birthday during the Japanese Colonial Period. It will analyze how festivals were prepared and organized, how performing arts were developed, and how Japanese people and Taiwanese people cooperated. It will also explore the relationship between the changing of performing arts and the social environment at that time, examining how Japanese and Taiwanese cultures affected each other. Before the Kominka Movement was fully developed in 1937, Japanese festivals in Taiwan had been adopting the Taiwanese theatres and other musical forms in their activities while Taiwanese festivals, with the influence of Japanese festivals, included activities such as the Makeover Process. However, during the years of Kominka Movement from 1937 to 1945, all performances of the Taiwanese theatres and religious processions were prohibited; on the other hand, celebrations for Shinto Shine and Emperor's Birthday became more and more popular. In order to reinforce its control over Taiwanese people, the Japanese Colonial Government promoted Shinto Shine worships and the activity of raising lamps in the procession when celebrating victories in battles. Nevertheless, these activities gradually fell out of favor after Japan was defeated.