從《台灣日日新報》探究日治戲曲從業人員之生涯

清末民初之際，中國戲曲發展一日千里，戲伶人才輩出，原本處於社會最低層的「優伶」得以「翻身」，成為萬眾矚目的「明星」如梅蘭芳、程硯秋等。當時台灣正處於日治時代，沿村串疃，生活猶如「吉普賽人」的台灣「搬戲仔」（優）、「賤人」（伶、文武場人員）際遇又是如何？本文從日治時期《台灣日日新報》1898〜1935年中擷取（剔除語焉不詳，繁瑣例行的訊息）有關戲曲從業人員（包括班主、班員、文武場、戲頭、戲院收票員等）之信息32則，藉由戲曲從業人員的生活點滴，發生的案件，及報載撰寫人之評述認知，歸納為正面、中性、負面三種訊息，並加以研判分析其背後意涵，以了解當時戲曲從業人員的生活概況。

關鍵字

俗諺語；班主；台柱；戲班；戲箱；戲迷；搬戲仔

並列摘要

The early years of the Republic of china in the early years of the Qing dynasty. Chinese opera develops rapidly, playful talents come forth in large numbers status improvement, such as Mei Lanfam、Cheng Yangiu. At that time ;Taiwan was during the Japanese rule Taiwanese artists who are wandering around living condition. This article is ruled from Japan rule Taiwan Daily news 1898~1935 years, select message 32 lean about the banter life by message inductively positive、negative、neutral and analyze the implications behind the analysis understand playful life the truth.