被動員的「鄉土藝術」：黃得時與太平洋戰爭期的布袋戲改造

The Mobilized 'Native Arts' Huang Deshi and the reformation of glove puppetry in the Pacific-War period

太平洋戰爭爆發前夕的1941年間，皇民奉公會下設娛樂委員會，以樹立戰時的「健全娛樂」為目標，進行布袋戲改造。原本在皇民化運動下形同消失的本島偶戲演出，此時重獲生機。本論文從劇場史脈絡考察布袋戲改造事件的始末，側重當時本土派文化人黃得時對布袋戲復活的推動、妥協與參與，及其在主導改造過程中主要的關懷面向等。筆者認為，固然黃得時堪稱成功地完成官方賦予的任務，顯示這位本土派文化人以及布袋戲在此時已被收編入帝國戰爭動員的羽翼之下，但是在此一理解之外，事件本身尚且存在以下意義，值得我們加以留意：（一）重啟皇民化運動下布袋戲藝人的生機，使其技藝與創造力得以維續、發展（二）布袋戲改造過程中，皇民化」兼有「現代化」的改革取向，開啟了戰後布袋戲在美學上的關鍵性變革；（三）黃得時在改造過程中發表多篇布袋戲專文、提出臺灣中心的布袋戲史觀，是臺灣布袋戲研究的先驅者。 Kominhokokai (皇民奉公會, the institution m charge of the formation of imperial subjects) established a committee for entertainment affairs in 1941, right before the outbreak of the Pacific War. The committee aimed at setting up wartime models of 'sound and healthy entertainments,' and initiated the reformation of glove puppetry. Native puppet theater performances, having nearly vanished under the suppression of Kominka (皇民化, formation of imperial subjects) movement, then got a new lease on life. This essay examines the whole story of this reformation through its context of theater history, lays emphasis on its leader Huang Deshi, a Taiwanese intellectual and a prominent native-culture advocate at that time, and looks into his promotion, concession and participation of glove puppetry revival, as well as his main concerns in the process of reformation. The author argues that, while Huang successfully fulfilled his mission designated by the colonial government to transform Taiwanese glove puppetry, such success symbolizes far more than an incorporation of a representative of native-culture advocates and the glove puppetry into the imperial wartime mobilization. In fact, the reformation also provided an important opportunity for glove puppeteers to maintain and develop their skills and creativity after the suppression of Kominka movement. Furthermore, the influence of modernization accompanied Kominka movement along the process of glove puppetry reformation, opening a door for crucial aesthetic innovations of postwar glove puppetry. Finally, Huang proposed a Taiwan-centered view of glove puppetry history in his articles on glove puppetry published during the reformation process, pioneering the research of Taiwanese glove puppetry.