新中國劇社來臺演出考辨分析

Analysis of the New China Troupe Performance in Taiwan

戰後初期，臺灣省行政長官公署宣傳委員會為介紹中國文化、普及國語中文及鼓動臺灣劇運，於一九四六年十一月邀請有中國話劇前輩歐陽予倩隨行的新中國劇社來臺演出，當時除了演出《鄭成功》、《牛郎織女》、《日出》及《桃花扇》四齣大型話劇之外，尚與臺灣戲劇界、文化界人士有所互動，此一深具意義的戰後兩岸戲劇交流，在二．二八事件發生後嘎然而止，該社也因而黯然回滬，並在短暫營運後解散。一九四一年創立於廣西桂林的新中國劇社，為一以軍中演劇隊、廣西省立藝術館成員為班底、政治立場具左翼色彩的職業話劇團體，與田漢、洪深、陽翰笙等劇人關係密切，抗戰勝利前後於廣西、湖南、貴州、雲南等省分演出數十齣中大型話劇、獨幕劇及活報劇。探討此一極富時代特色之職業劇團於戰後受邀到臺灣演出的諸多面向，如引薦人藍蘭與該社及邀請單位長官公署宣委會的關係、四齣戲的製作過程及演出後媒體、觀眾的反應與影響、該社在臺三個月間與臺籍劇人及本外省文化人士的互動情形、該社此次旅臺演出在臺灣戲劇史及中國話劇史上的意義等，將對新中國劇社史、中國話劇史及兩岸戲劇交流史的完整建立有所助益。

To introduce China’s culture, popularize Mandarin Chinese and promote drama in Taiwan at the beginning of the post-war period, the Propaganda Committee of Taiwan Provincial Administrative Executive Office invited the New China Troupe, attached to the Chinese drama predecessor Ouyang Yuqian (1889-1962), to perform in Taiwan in November 1946. At that time, in addition to performing four major dramas- -Zheng Chenggong, Cowherd and the Weaver Girl, Sunrise and Peach Blossom Fan, the troupe also interacted with Taiwan’s drama and cultural communities. However, this highly significant post-war cross-strait drama exchange ended abruptly after the February 28 Massacre, and the troupe returned home dejected and was dismantled shortly thereafter. Founded in 1941 in Guilin, Guangxi, the New China Troupe was a professional military drama troupe comprising ordinary members from the Guangxi Arts Institute, and represented left-wing political views. The troupe had close relationships with Tian Han (1898-1968), Hong Shen (1894-1955), Yang Hansheng (1902-1993) and other thespians, and had given dozens of mid- and large-scale dramas, one-act plays and informal live performances in Guangxi, Hunan, Guizhou, Yunnan and other provinces both before and after victory in the Japanese War. This paper explores the many dimensions of the post-war Taiwan performances of this professional troupe, so richly representative of its era. The dimensions include the relationship between Lan Lan (1912-1966), who invited the troupe, the troupe and the Administrative Executive Office inviting committee, the production process of the four dramas, media and public response to the performances and the impact of the performances, the interaction between the troupe and Taiwan’s drama and cultural communities during its 3-month visit to Taiwan, and the significance of the Taiwan performances in the history of Taiwan’s and China’s drama. These dimensions are used to comprehensively construct the history of the New China Troupe, the history of China’s drama and the history of cross-strait drama exchange.