從「少女歌劇」到「女性之園」――日本寶塚歌劇團女性場域化的發展考察

From Girls' Revue to Women's Secret Garden: An Examination of the Takarazuka Revue's Female Audience

於1914（大正3）年誕生於日本兵庫縣寶塚市的寶塚歌劇團（以下簡稱「寶塚」）是一個僅由女性演員構成的演藝團體，在全世界稱得上極為罕見。其觀眾組成亦由女性占絕大多數，稱其為「女性之園」也毫不為過。是以，現在的寶塚經常被認為是日本少女文化的代表之一。但是，從寶塚的機關雜誌《歌劇》所刊登的文章和讀者投稿中可以發現，寶塚成立初期，觀眾以男性居多，可見初期的寶塚雖是由少女組成的「少女歌劇」，但並不能說是「少女文化」的代表。另一方面，少女文化的發展，卻促成了寶塚的女性場域化。本文將從寶塚的創立理念、形象塑造與觀眾層的變化，分析寶塚從弘揚新型「國民劇」的組織，逐漸轉型為相對封閉之女性場域的發展進程。

Founded 1914 in Takarazuka, Hyogo Prefecture, Japan, the Takarazuka Revue is an all-female musical troupe that performs both western and Japanese-style musicals. An overwhelming majority of its audience is female. Takarazuka Revue is thusly regarded as a female-only world in Japan. The contemporary Takarazuka Revue is frequently cited as one of the most iconic representatives of contemporary girl culture in Japan; however, articles published in the Takarazuka Revue's official magazine, Kageki, show that in its early stage the Takarazuka Revue had a predominatly male audience. This shows that in the initial stages of the Takarazuka Revue existence, although girls formed this ''girls' troupe'', however it cannot be said to represent girl culture at that time. On the other hand, girl culture did contribute to the Takarazuka Revue's audience becoming a space for women. This essay will examine how the Takarazuka Revue gradually turned its public image from a performance group with audiences across all age groups and gender groups, to a women's secret garden over the last century. This article will focus on the history of the revue from the following perspectives: the ideology shaping the revue in its early days, character building, and the change in the audience group over the past years.