| 摘要: | 1945年至1949年的戰後初期四年間，台灣的戲劇演出活動相對熱絡，除了文化取向的知識分子演劇因劇本審查制及「二二八事件」而受到嚴重的挫折與打擊之外，無論是娛樂取向的民間職業新劇演出、大陸話劇團的旅台演出、軍中演劇隊演出，以及民間業餘話劇團及校園演劇等相關活動，皆呈現出一種光復後「新生」的蓬勃氣氛。為了使甫脫離日本殖民的台灣人能儘早認識祖國文化、學習國語，話劇亦成為彼時國府在台文化施政「去日本化」與「再中國化」之「文化重建」的一環與利器。透過來台之大陸話劇團、業餘劇人及教師、學生，當時大陸知名劇作家如曹禺、田漢、陳白塵、沈浮、黃佐臨、吳祖光、宋之的、楊村彬、阿英、于伶、顧一樵、李健吾、黃宗江等人的作品，如《雷雨》、《日出》、《原野》、《北京人》、《南歸》、《結婚進行曲》、《金玉滿堂》、《重慶二十四小時》、《樑上君子》、《牛郎織女》、《文天祥》、《新縣長》、《國家至上》、《清宮外史》、《明末遺恨》、《海國英雄》、《大明英列傳》、《岳飛》、《這不過是春天》、《大團圓》等，都在戰後四年中被引介來台演出，同時，並藉著校園演劇在高中及大專院校中散播開來。台灣戲劇史的研究，無法忽視戰後初期中國劇作在台灣演出實踐的作用力及影響。這些中國劇作是在何種思維下的引介？這些劇作哪些是在當時國統區、上海孤島時期的創作？打造國族認同與想像是否為其引介的主要目的？左翼劇作家及其作品對台灣的一般觀眾、左翼青年有何影響？台灣劇界對這些中國劇作的接受/抗拒態度為何？國共內戰局勢的改變及台灣內部黨政軍勢力的角力對於中國劇作在台搬演的影響？這些中國劇作在國民政府遷台後的命運為何？台語話劇的實驗受此影響的實貌又為何？以上皆為值得研究，卻又是長期為學界忽視的議題。為了進一步瞭解這一段對台灣戲劇發展至關重要的歷史，本計畫將以二年為期，針對戰後初期（1945-1949）曾在台灣演出過的中國劇作及劇作家為對象，以歷史、政治、文化、戲劇的多重視角進行分析研究。第一年的研究主要以抗戰時期主要在大後方活動創作的曹禺、黃佐臨、田漢、沈浮、宋之的、楊村彬等人及其劇作的分析，以及劇作在台演出的情形及其影響為主；第二年則以抗戰時期主要在上海孤島時期活動創作的阿英、于伶、李健吾等人及其劇作的分析，以及劇作在台演出的情形及其影響為主。希冀本計畫的執行及成果，對於台灣戲劇史、中國話劇史及兩岸戲劇交流史的書寫及研究有所補正及助益。
From 1945 to 1949, the early post-World WarⅡ years, theatrical performances in Taiwan were relatively active. Although the theater of cultural-oriented intellectuals were seriously frustrated due to the drama script censorship and the “228 incident”, regardless of the entertainment-oriented non-governmental professional new theatrical performances, the Chinese mainland’s theatrical troupes’ performances in Taiwan, the military theatrical teams’ performances, and the non-governmental amateur theatrical troupes, or other campus theatrical performances, these relevant activities showed a vigorous atmosphere of “regeneration” after Taiwan regained possession of its lost territory. In order to make Taiwanese people, who just broke away from colonial rule by Japan, understand Chinese culture and learn Mandarin as soon as possible, the theater then became a useful tool for the Nationalist government’s policy and administration of “cultural reconstruction” of “de-Japanization” and “Resinicization” in Taiwan. Though Chinese mainland’s theatrical troupe, amateur troupers, teachers and students, the works of Chinese mainland’s well-known playwrights, such as Cao Yu (曹禺), Tian Han (田漢), Chen Bai-Chen (陳白塵), Shen Fu (沈浮), Huang Zuo-Lin (黃佐臨), Wu Zu-Guang (吳 祖光), Song Zhi-Di (宋之的), Yang Cun-Bin (楊村彬), A-Ying (阿英), Yu Ling (于伶), Gu Yi-Qiao (顧一樵), Li Jian-Wu (李健吾), Huang Zong-Jiang (黃宗江), etc., were introduced to Taiwan to present performances during the first four years after World War II, and at the same time, were spread among high schools and tertiary institutions by the campus theatrical performances. These works were, for example, “Thunderstorm” (雷雨), “Sunrise”(日出), “Fields”(原野), “Beijingers”(北京人), “Return South”(南歸), “Wedding March”(結婚進行曲), “Feast”(金玉滿堂), “Twenty-four Hours in Chongqing”(重慶二十四小時), “A Gentleman up on the Beams”(樑上君子), “Cowherd and Weaver Maiden”(牛郎織女), “Wen Tian-Xiang”(文天祥), “The New County Governor”(新縣長), “The State is Supreme”(國家至上), “Unofficial History of Qing Palace”(清宮外史), “The Late Ming Dynasty’s Grudge”(明末遺恨), “Maritime Country’s Heroes”(海國英雄), “Ming Dynasty’s Heroic Biographies”(大明英列傳), “Yue Fei”(岳飛), “It’s just Spring”(這不過是春天), “Happy Reunion” (大團圓), etc. The study of Taiwan’s history of theater cannot ignore the influences of Chinese dramatic works of the early post-war period on Taiwan’s theatrical performance practice. Under what kind of thinking were these dramatic works introduced to Taiwan? Which dramatic works were then produced in so-called Kuomingtang controlled areas and during the isolated island period of Shanghai? Was national and Chinese identity and imagination the main purpose of introducing these dramatic works to Taiwan? What influences did left-wing playwrights and their works have on Taiwan’s average audience and left-wing young people? What was the attitude of the theater in Taiwan towards Chinese dramatic works, accepting or resisting? What was the impact of the changes in the situation of the civil war between Kuomingtang and Chinese Communist Party and what was the impact of Taiwan’s internal struggles among Kuomingtang, the government, and the military forces on the theatrical performances of Chinese dramatic works in Taiwan? What was the destiny of these Chinese dramatic works after the Chinese Nationalist government moved to Taiwan? What was the impact of this on Taiwanese experimental theater? All these questions are worth studying but have long been neglected by academics. To further understand the crucial period of Taiwan’s history of theater, the present research is a two-year project. This project focuses on the Chinese playwrights and dramatic works that had presented a performance in Taiwan during the early post-war period (1945 – 1949), conducting studies and analyses from historical, political, cultural, and theatrical viewpoints. The first year of study focuses on the active playwrights in the rear areas during the Sino-Japanese War, such as Cao Yu (曹禺), Huang Zuo-Lin (黃佐臨), Tian-Han (田漢), Shen Fu (沈浮), Song Zhi-Di (宋之的), Yang Cun-Bin (楊村彬), etc., and their dramatic works, and also focuses on the theatrical performances of these works in Taiwan and their influences on Taiwan’s theatrical performances. The second year of study focuses on the playwrights in the isolated island period of Shanghai during the Sino-Japanese War, such as A-Ying (阿英), Yu Ling (于伶), Li Jian-Wu (李健吾), etc., and their dramatic works, and also focuses on the theatrical performances of these works in Taiwan and their influences on Taiwan’s theatrical performances. It is hoped that this research project can benefit and correct Taiwan’s history of theater, Chinese history of theater, and the history of cross-strait exchange of the theater |
