3 一戰後初期中國劇作在臺演出史略 ( )

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稀耕骆
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1 12 Journal of Theater Studies DOI: /JOTS 戰後初期中國劇作在臺演出實踐探析 * 前言 1 2 * H MY NTU

2 3 一戰後初期中國劇作在臺演出史略 ( )

3 ( 一 ) 省署時期

4 Molière L' Avare

5 Seán O'Casey Juno and the Paycock

7 ( 二 ) 省府時期

8 Sir Arthur Wing Pinero The Second Mrs. Tanqueray pm

10 Victor-Marie Hugo Angelo1835 Maxim Gorky The Lower Depths Nikolai Vasilievich Gogol- Yanovski The Inspector General

11 ( 三 ) 戡亂時期

12 Eugene Walter The Easiest Way

14 78 79 二劇團與劇人 : 抗戰時期話劇的延續與移動 ( 一 ) 職業話劇團

16 蒭

19 ( 二 ) 軍中演劇隊

21 105 ( 三 ) 業餘話劇團

23 ( 四 ) 學校話劇社團

24 ( 五 ) 臺灣職業新劇團 114 三劇目 : 名劇的多元呈現與此時此地的背逆

25 ( 一 ) 歷史劇

27 ( 二 ) 抗戰劇

29 ( 三 ) 喜劇 ( 四 ) 改譯劇

30 You Can't Take It with You

31 ( 五 ) 嚴肅寫實劇及其他

32 結語

34 附錄 : 戰後初期中國劇作在臺灣演出一覽表

39 Angelo

41 戰後初期中國劇作在臺演出實踐探析關鍵字 : 臺灣戰後初期話劇曹禺新中國劇社 -161-

42 An Exploration of the Chinese Plays in Taiwan during the Early Post World War II Period Ya-hsiang HSU Professor, Department of Theatre Arts, Chinese Culture University Between 1945 and 1949, right after World War II, Chinese dramatic plays in Taiwan were overwhelmingly popular. Except for local intellectuals who were oriented towards social criticism and who were affected due to the script review system and the February 28 Incident, almost all drama activities, including entertainment oriented new folk plays, Chinese drama round tours troupes, military drama shows, amateur folk drama troupes and campus drama troupes, were vigorously booming. In order to expedite learning of both Chinese culture and language on the part of Taiwanese residents, who were newly detached from the Japanese colonial government, dramatic plays became a means of cultural reconstruction by the Chinese government, for they could help the residents to de-japanize and re-chinese culturalize. Through Chinese drama troupes, military drama troupes, mainland amateur dramatists, and students and teachers, there were more than 40 well-known Chinese dramatists, responsible for having written 60 dramas performed in Taiwan during the four year post-world War II period. These dramatic plays, including historic drama, dramas concerning the War of Resistance to the Japanese, western drama, comedies, and realist drama, introduced Chinese culture, advocated Chinese language, and soothed relationships between the military and the citizens. But in reality, this overlooked the adaptability of both the language and culture of these Taiwanese drama viewers and created a large gap of estrangement from reality. The resulting circumstance was a backlash against these forms in preference for indigenous cultural expressions. Time compression and situation change are two key factors that affected Chinese drama practiced in Taiwan. And compressed cultural deconstruction and instrumentalization of drama are two main reasons that Taiwanese viewers lacked the will to watch Chinese plays. However, while those plays appeared to be preposterous under the circumstances of the here and now, they affected the development of the Taiwanese drama plays profoundly in the long run. Keywords: Taiwan post World War II drama plays Tsao Yu New Chinese Drama Troupe -162-

43 徵引書目

一省署時期的臺灣戲劇及戲劇特刊

一省署時期的臺灣戲劇及戲劇特刊 14 Journal of Theater Studies 2014 7 51-72 DOI: 10.6257/JOTS.2014.14051 一個戲劇的公共輿論空間 * 戰後初期臺灣報紙的戲劇特刊分析前言 * 101-2410-H-034-032-MY22013 6 7-51- 一省署時期的臺灣戲劇及戲劇特刊 1 2 3 4 1 1945-1949 151 2006 3 190-200 235-237

3 一 戰後初期中國劇作在臺演出史略 ( )

3 一戰後初期中國劇作在臺演出史略 ( )