從星光到鐘聲：張維賢新劇生涯及其困境

From “Xing-Guang” to “Zhong-Shen”: Zhang Weixian’s New Drama Life and its Predicaments

臺灣在日治時期出現的新劇，是現代文明產物，是當時文化人藉以批判殖民政治與封建迷信，鼓吹「文化向上」寓教於樂的展演型式。不論戰前、戰後談論新劇，必定會提到張維賢（1905-1977）這個代表性人物。做為臺灣新劇第一人，張維賢名符其實，尤其他的兩篇文章〈臺灣新劇史述略〉、〈我的演劇回憶〉，以「夫子自道」參與日治時期臺灣新劇運動，成一「家」之言，後來的研究者也多循著書寫理路去看待他與新劇運動重要性，對星光演劇與劇目表格化，但就資料蒐集、引用與論述上，基本脈絡仍然相差不遠。張氏文章出版的年代是白色恐怖的一九五四年，在「去日本殖民遺毒」的大環境下，是否有所避諱而影響書寫觀點？著作中隱晦不清的部分依然乏人去作交待。今人研究把一九二五至一九二八這三年間星光的演出都歸屬張維賢，主要依據為何？星光的演出，如何製作？何人擔任編劇、導演？劇場能量與藝術性為何？哪一齣戲可以算其代表劇？拱手讓人後的星光與其理念有何不同？張維賢事蹟最津津樂道的是曾加入築地小劇場，他在築地扮演什麼角色？有具體資料佐證？這些問題至今仍然難以理解。從張維賢研究切入，固然可明瞭日治時期臺灣新劇運動的脈絡，同時也可探討張維賢時代的新劇生態環境，以及難以掙脫的困境。

Taiwan New Drama (xinju, 新劇), which appeared during the Japanese Colonial Period, was the product of modern times. It was the way that the intellectuals at that time judged the colonial politics and superstition of feudalism, and advocated upgrading the culture in an educational and entertaining way. When people talked about the New Drama before and after the war, they would definitely mention the representative figure, Zhang Weixian (1905-1977). Zhang Weixian deserved the title of pioneer of the Taiwan New Drama. Particularly, his two articles, “The General Description of Taiwan New Drama” (〈臺灣新劇史述略〉) and “My Memoirs of New Drama” (〈我的演劇回憶〉), which described his participation in Taiwan New Drama during the Japanese Colonial Period, have developed his own specific statements. Researchers after his time also follow his statements to see his importance in the Taiwan New Drama Movement, and to diagram the performances of the “XingGuang Theatre”. However, there is no divergence between their collection, quotations and discussion about the research of Zhang Weixian. Zhang’s article was published in 1945, the year of Taiwanese White Terror, under the circumstances of “extinguishing the harmful influence of Japanese Colonialism,” so there is a question whether there were any taboos influencing his writing. There are still obscurities waiting to be clarified in Zhang’s writing. Is there any evidence in accordance with present research which attributes Xing-Guang’s performances during 1925-1928 to Zhang Weixian? How were the Xing-Guang’s performances produced? Who were the scriptwriters and the director? What was the energy of the theatre and its artistry? Which play can be viewed as his masterpiece? Was there any change of the idea of the Xing-Guang Theatre after it had been surrendered to others? Being one of the members in Tsukiji Little Theatre was one of Zhang Weixian’s achievements; what place did he play in Tsukiji Little Theatre, and is there any specific evidence to prove it? These are still puzzles. The research on Zhang Weixian can be viewed as an understanding of the Taiwan New Drama Movement in the Japanese Colonial Period, and we can also discuss the environment of New Drama at that time from the research, moreover, to see the predicaments that were difficult for them to break through.