體系與視野：五十年來（1949－2002）臺灣學者對傳統戲曲學的建構

Systems and Visions: The Construction of Traditional Theater Studies in Taiwan 1949-2002

2002年，筆者負責國科會人文中心「臺灣近幾十年來藝術學研究成果報告（1949-2002）」之「傳統戲曲研究」撰寫計畫。寫作過程中最大的挑戰，在於對臺灣學者研究傳統戲曲所建構的體系與視野之觀察。本文即以此為題，希望能提供研究者些許參考。首先以時間為縱軸，說明臺灣學者傳統戲曲研究的歷史進程，約可分為準備期、奠基期和發展期三個階段。接著，以內涵為橫軸，分「中國傳統戲曲研究」和「臺灣傳統戲曲研究」兩個部分，介紹其所建立的架構體系，及從中打開的視野。前者有「戲曲歷史與發展」、「戲曲文學」、「戲曲理論」、「劇場、劇場藝術與劇場文化」、「劇種學」五個主軸；後者有「臺灣各戲曲劇種」、「臺灣歌仔戲」、「臺灣偶戲」三個主軸。每一個主軸下又各有要項及分支。最後，並就過去五十多年的發展，在研究生態和研究論題上提出趨向和變化的觀察。

In 2002 I was in charge of writing a report for the “Traditional Theater” branch in the “Chinese Arts Research in Taiwan: a Retrospect (1949-2002)” project sponsored by the Center for Humanities Research, National Science Council. The survey of systems and perspectives of traditional theater research constructed by scholars in Taiwan challenged me the most while writing the report. Therefore I make an overall review on this issue in hopes of providing a reference for further study. Chronologically, the process of traditional theater studies by scholars in Taiwan can be divided into three periods: preparation, foundation, and development. In terms of category, there are “traditional Chinese theater study” and “traditional Taiwanese theater study,” each including schematic frame and view points, and which can be further divided into some minor issues. The former covers issues on the “history and development of theater,” “literature of theater,” “theory of theater,” “stage practice, stage craft, and stage culture,” and “study on theatrical genres”; the latter consists of “Taiwanese theatrical genres,” “Taiwanese opera,” and “Taiwanese puppetry.” I will point out tendencies and transformations of research environment and fields in the last five decades as a concluding remark.