邱坤良 战时在台日本人戏剧家与台湾戏剧―以松居桃楼为例
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战时在台日本人戏剧家与台湾戏剧―以 松居桃楼为例*
邱坤良** 中文摘要
一九三○年代随著日本军国主义兴起,以及中日战争的爆发,台湾殖民地政府积极推 行皇民化运动,传统戏曲与祭典活动被严格禁止,只有新剧,改良剧披著皇民化剧的外衣 得以存在.为因应战时戏剧政策以及皇民化目标,在台日本戏剧家地位逐渐重要. 对当时的新剧运动人士而言,戏剧的变革,相对思想管制微不足道,甚至是理所当 然.因为一部台湾新剧演出史,日本经验早已成为台湾戏剧传统的一部分.全台湾都市, 乡镇一百多个戏院提供五十个新剧团巡回演出,多数农渔村毫无娱乐可言,而多数剧团演 员未受过教育,不能说国语(日语),却要演出国语(日语)剧,其中一大半的剧团又由 歌仔戏团改头换面. 农村大众缺乏娱乐,而职业演员教育程度不足,演出水准不高的情形下,为了健全娱 乐,通晓日语的各行各业,年轻人组成含有「素人演剧」性质的青年剧运动应运而生,在 各地巡回展开,被视为战时新兴文化力量.然而,这些青年剧的演出内容如何,演员训练 以及舞台排演,能否落实,有无戏剧专家指导,却是一大问题,甚至有可能被批评为阻挠 食粮生产,紊乱风纪.前述戏剧政策要推动并不容易,尤其皇民化运动期间,从日本本土 到殖民地,军国主义凌驾一切,戏剧沦为战争工具,舞台不过是模拟战场. 战时的台湾仍然到处演新剧,但与战前最大不同,在於以前的新剧运动人士反对传统 戏剧与祭典,传统戏剧与祭典并未被禁,更未消失,战时「禁鼓乐」,只演新剧,戏剧生 态已完全改变.打著皇民化剧的剧团,空有新剧的形式,而缺乏新剧内容与精神. 当时参与台湾戏剧活动的日本人,关怀台湾,同情被殖民者,也是站在日本立场,希 望提升台湾戏剧水准,使它能在日本帝国扮演重要角色.他们期盼的台湾戏剧,是能以国
《戏剧学刊》第十二期页7-33(民国九十九年),台北:国立台北艺术大学戏剧学院 TAIPEI THEATRE JOURNAL 12 (2010):7-33 School of Theatre, Taipei National University of the Arts 收稿日期:2010.3.10;通过日期:2010.5.24 * 本论文曾宣读於「帝国主义と文学」研讨会(日本:爱知大学,2008年8月1-3日). ** 国立台北艺术大学戏剧学系教授
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戏剧学刊
语演出,符合日本精神的新戏剧. 松居桃楼(1910-1994)是当年少数具有剧场实务经验,又有戏剧专著的在台日本人 戏剧家之一.他实际负责台湾演剧协会,与战时的台湾戏剧界有最直接的接触,从他身 上,或许可观察出当时戏剧人在激烈战火底下所能扮演的角色.然而,有关他的生平事迹 却隐晦不彰,研究戏剧史的学者都对他极为陌生. 以「结果论」检视,由日本人戏剧家主导的战时台湾戏剧活动,其剧场能量软弱无 比.其中有现实的因素,也有历史的嘲弄,使得这场由日本官方主导,疾风暴雨似的戏剧 运动,短短几年之间烟消雾散.本论文就是藉由松居桃楼的研究,探讨战时台湾戏剧生 态,以及在台日本人戏剧家所扮演的戏剧角色.
关键词:松居桃楼,松居松叶,赤道,台湾演剧协会,大东亚戏剧
邱坤良 战时在台日本人戏剧家与台湾戏剧―以松居桃楼为例
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Japanese Dramatists and Theatre in Taiwan during the War (1937-1945) – A Case Study of Matsui Toru
Chiu Kun-Liang
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Abstract
In the 1930s, with the rise of militarism in Japan and the outbreak of the war between China and Japan, traditional Taiwanese drama and rituals were strictly prohibited under the Taiwanese colonial governmentJapanization (Kominga) movement. During this time, the government only s permitted Xinju (new drama) and reformed drama within Japanization context. Thus, on the basis of the drama policy and the goal of Japanization during wartime, the role of Japanese intellectuals and dramatists became significant after the war burst out. For people involved in Xinju movement, the revolution of drama was of little importance in comparison to thought control. They even took such changes for granted because Japanization had become a part in the history of Taiwanese Xinju. At the time, Japanese dramatists in Taiwan had to face a poor theatre environment and inadequate structure of performance. There were only more than a hundred theatres for fifty Xinju troupes to perform in, in addition to the fact that most Taiwanese villages still lacked entertainment in their daily life. Also, most troupes were transformed from Taiwan traditional opera so that most actors were uneducated, could not speak Japanese, but had to perform in the official language-- Japanese. Due to the impoverished condition, young generation from all walks of life with spoken Japanese abilities started to organize youth drama groups to improve the quality of entertainment. Though they hadnbeen trained professionally, they were seen as a fresh cultural force in t the wartime and quickly flourished throughout Taiwan. However, practical problems, such as creating the script, training of actors, stage rehearsal and lack of instruction from professional dramatists needed to be solved. Under the Japanization movement, as militarism was pervading through Japan and its colonies, drama was but a tool for war advocacy and was easily criticized as nonproductive and disruptive to the society.

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