邁向商業之路：日治時期臺灣內台七子班的藝術因應問題探討

The road to business：Discussion on the Artistic Response of Chi Tzu Ban in Taiwan’s Commercial Theater during the Japanese Occupation

日治時期臺灣戲曲史是臺灣戲曲史的黃金時期，日治時期戲曲環境見於清領時期流行劇種的延續發展、中國戲班的渡臺巡演、商業劇場的興築、新興劇種的崛起、劇種的白字化現象。日治時期現代化劇場支持了戲曲商業特質在觀演供需方面的持續性，同時提供庶民娛樂審美的實現空間，彼時於商業劇場演出的戲班無不在劇目、表演、音樂、舞臺美術……等方面相互競爭，形成漸趨商品化與庶民化的戲曲樣態。本論文旨在分析承繼清領時期語言與文化優勢的臺灣七子戲，如何在日治時期商業劇場戲曲環境之下生存？嘗試探討其可能原因，同時，企圖考察七子戲的支持系統，分析內臺七子班面對大眾劇場時代的回應策略，希冀提供一個娛樂生態、語言文化、劇種藝術、觀眾審美等交織作用下的劇種參照個案。

 

Taiwanese drama during the Japanese occupation lived through a golden era. This was related to the continuous development of popular types of drama from the Ching Dynasty, the performance of Chinese drama in Taiwan, the construction of commercial thcaters, the appearance of new dramatic genres, and the trend towards local languages being used in different types of drama. Modern theater during the Japanese occupation allowed for the continuation of commercial exploitation of drama, based on the laws of supply and demand. At the same time, it provided space for the realization of entertainment aesthetics for the common people. At that time, troupes performing in commercial theaters competed with each other in terms of repertoire, performance, music, stage art and formed a commercially successful and popular drama style. The purpose of this thesis is to analyze Taiwanese Qizi Opera, which inherited the language and cultural heritage of the Qing Dynasty, and to show how it survived in the commercial theater and opera environment under the Japanese occupation. It explores the strategies adopted, and, at the same time, it investigates the support system of Qizi Opera. Another focus of interest is Chi Tzu Ban in the Taiwan Commercial Theater, with its response strategies to the era of mass theater, which provide a reference case for opera under the intertwined influences of entertainment ecology, language and culture, drama art, and audience aesthetics.