純影劇──純文學：60年代《劇場》、《純文學》臺港藝文交流的兩個面向

Pure Drama to Pure Literature: Two Aspects of Cultural and Artistic Exchange between Taiwan and Hong Kong in the 1960s as Seen in Theatre Quarterly and Literature

1965年1月，《劇場》高舉「純影劇」標幟，由赴美研習戲劇的邱剛健主催創刊，隨後邀港文化人羅卡、金炳興進入編輯群，帶動臺港戲劇交流新象；無獨有偶，1967年1月，《純文學》祭出「純文學」路線，由前行代作家林海音主編創刊，4月香江文化人王敬羲嫁接母版推出港版《純文學》，譜寫臺港文學交流新局。兩刊物於60年代臺港文化交流大放煙火而如今退位，不爭的是，其同而不同的藝文領域、作者群、編輯組成、專題企畫……擴大了臺港藝文交流空間，歷來不乏分別對二刊物的究研，然其殊異，值得並論，本文因此梳理《劇場》、《純文學》刊物性，探討二者如何透過創作與實踐形構60年代臺港藝文交流的兩個面向，以此肯定二刊物存有並回應過往時代。

In January 1965, Theatre Quarterly raised the banner of ''pure drama'', founded and led by Kang Chien Chiu who had studied drama in the United States. Subsequently, Hong Kong cultural titans Law Kar and Kam Ping Hing were invited to join the editorial team, ushering in a new era of cultural exchange between Taiwan and Hong Kong in the realm of theater. Similarly, in January 1967, Literature launched its ''pure literature'' initiative, with veteran writer Lin Hai Yin as the chief editor. In April of the same year, a cultural personality from Xiangjiang, Wang Jing Xi adapted the original version and introduced the Hong Kong edition of Literature, marking a new chapter in literary exchange between Taiwan and Hong Kong. Although both publications have since receded from prominence, their respective fields, author groups, editorial compositions, and special projects have expanded the space for cultural exchange between Taiwan and Hong Kong. While there have been numerous studies on these two publications, their differences deserve further exploration. This paper aims to analyze the nature of Theatre Quarterly and Literature, examining how they contributed to the two facets of cultural exchange between Taiwan and Hong Kong through creation and practice in the 1960s, thus affirming their historical significance and response to the era.