廈門新劇／文明戲研究（1921-1938）：以廈門通俗教育社及李維修為中心

A Study of New Drama/Civilization Drama in Amoy: Centering on Li Wei Xiu and the Amoy Social Education Club

日治時期臺灣新劇受到廈門新劇（文明戲）影響而興起，但廈門新劇傳播到臺灣的過程至今仍不明朗。目前廈門新劇尚未有體系的研究，無法展開廈門、臺灣之間的淵源研究。本文旨在釐清廈門通俗教育社新劇運動的全貌，並且考察該社新劇推動者李維修的戲劇素養來源，理解廈門新劇的發展歷史，以此作為臺灣新劇研究之基礎。本文指出，由於地理的邊陲性、協助市政治理的需求，廈門新劇沒有發展出上海文明戲那樣的商業演出劇團，而是由群眾團體通俗教育社承擔推廣的任務。通俗教育社新劇運動歷經新劇鼎盛期（1921－1924）、新劇衰微期（1924－1928）、新舊劇並行期（1928－1938）三個時期，表現出不同於上海文明戲的發展進程。當新劇日見衰微，通俗教育社新增京劇團，使新舊劇平行進展。至於通俗教育社未能發展的話劇，則有另一批受新式教育的學生們實踐。該社的年輕社員也參與其中，活用他們在通俗教育社習得的戲劇經驗，使一九三○年代的廈門同時存在話劇、新劇、舊劇各種戲劇形態。通俗教育社新劇運動為我們示範的是戲劇發展的社會文化意義。它讓我們看到一個群眾團體如何引領地區的新劇風潮，如何在新劇衰微時拾起舊劇以維持社團生命的韌性，又如何間接參與新興的話劇運動，最終為地區帶來戲劇的多樣性。

"Taiwan's New Drama during the period of Japanese rule was affected by Amoy Social Education Club's New Drama (also called Civilization Drama), but due to the lack of study of Amoy New Drama, research about how Amoy spread the New Drama into Taiwan has not deepened. This paper aims to portray the panorama of Amoy Social Education Club's New drama movement, and clarify the theater enhancement undertaken by the New Drama promoter, Li Wei Xiu, to indicate the reason Amoy Social Education Club's New Drama movement was different from Shanghai Civilization Drama, which featured more commercial dramatic companies. This paper points out that Amoy Social Education Club's New Drama movement shows three periods: the prosperous New Drama period (1921-1924), the period of decline of New Drama (1924-1928), the period of parallel of New & Old Drama (1928-1938). This is an untypical drama development style that does not resemble the trajectory of development in Shanghai. Because of its relatively peripheral location, and the necessity of seeking municipal government assistance, New Drama in Amoy was taken charge of by the public interest group Amoy Social Education Club, instead of the professional theatre company as in the traditional Shanghai style. When the New Drama declined, the Old Drama was performed by Amoy Social Education Club. At the same time, some club members attended some Modern Drama companies, and contributed their experiences learned in the Amoy Social Education Club. Amoy Social Education Club showed us a new way for a public interest group to lead the New Drama movement and create theatrical variety. Amoy Social Education Club's New Drama movement should be valued in respect to the history of society and culture."