頁籤選單縮合
題 名 | 臺灣日據末期的現代戲劇活動(1937~1945)=The Modern Theatrical Activities of Taiwan in the Last Period under Japanese Occupation (1937~1945) |
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作 者 | 王淳美; | 書刊名 | 南臺科技大學學報 |
卷 期 | 30 民94.12 |
頁 次 | 頁201-216 |
分類號 | 980.9 |
關鍵詞 | 臺灣日據時期; 皇民化運動; 皇民化戲劇; 新劇; Taiwan under Japanese occupation; Imperialized movement; Imperialized drama; Xinju; |
語 文 | 中文(Chinese) |
中文摘要 | 1920年代臺灣戲劇在日本與中國戲劇影響下,開始萌芽滋長,以張維賢為首的「黑色青年」,結合反日的無政府政主義與反對傳統戲曲無法反映時代問題的態度,極力開創臺灣新劇的初期新局面。1937年中日戰爭爆發,殖民政府強力掌控戲劇活動,透過皇民化運動,新劇遂成為政治宣傳工具。 本文即在於探究臺灣在日據末期(1937-1945)實施皇民化運動下,順應該殖民政策的皇民化戲劇,以及逆離該政策的臺灣戲劇活動。次則以《金色夜叉》及《怒吼吧!中國》論析此一時期順應與逆離殖民政策的劇文本與演出概況,末則針對皇民化戲劇的成效提出辨證。最後以日據時期的戲劇特質作為結論。 |
英文摘要 | Influenced by modern dramas from both Japan and China, Xingju appeared in Taiwan in the 1920s by the ardent theatre practitioners, among whom Chang Wei-hsian, the well-known “Black Youth”, was the most important one, who combined the anti-Japanese nihilism and anti-traditional drama attitude which attacked that the traditional drama failed to reflect the society to create the early stage of modern drama in Taiwan. The year 1937 witnessed the Sino-Japan War which launched the Imperialized Movement. Theatrical activities were under severe control and became political vehicles to serve the colonial government. This paper aims to analyze the theatrical activities of the Imperialized Movement in the last period of Japanese occupation in Taiwan (1937-1945), mainly discussing both the dramatic texts and theatrical productions that abided by and protested against the political policy of Japanese colonization. Two dramatic texts and productions of Xinju, The Golden Devil and Roar China, serve as the vital paradigms of analysis, followed by evaluation of their effects and impacts on theatre arts in this period, and a solid conclusion explaining the characteristics of the drama. |
本系統中英文摘要資訊取自各篇刊載內容。