竹本大隅太夫的台灣巡演與日治初期「義太夫節」在台灣的發展

Takemoto OsumidayuⅢ’s Taiwan Tour and the Development of Gidayu Bushi in Taiwan during the Early Japanese Occupation

一九一三年，義太夫節藝師第三代竹本大隅太夫在台灣巡演途中病逝台南，此事件在近代文樂發展史上至為關鍵。本文首先回顧大隅太夫來台演出的契機與過程。其次，為了了解在大隅太夫來台前，殖民地台灣上欣賞義太夫節的觀眾基礎，因此主要聚焦在明治期的發展經驗，以《臺灣日日新報》和演藝類雜誌所刊登的報導記事、劇場演出資訊為研究素材，透過史料爬梳、文獻解讀，也對照同時間日本內地的發展狀況進行考察。本研究發現，在花街文化與娘義太夫風潮影響下，女義太夫活躍於本地，在日治台灣義太夫節的傳播上扮演重要角色，她們在寄席、劇場中演出，也教學授藝，成為素人義太夫的推手。而素人義太夫在台灣的蓬勃盛行、同人的緊密凝聚力以及高度的藝術鑑賞力，則為大隅太夫來台演出提供良好的觀眾條件與穩固的興行市場。

While on tour Taiwan in 1913, the Gidayu Bushi（義太夫節）artist Takemoto Osumidayu Ⅲ（三世竹本大隅太夫） died of illness in Tainan. His death was a pivotal event in the history of modern bunraku（文樂）. This thesis first reviews the course of Takemoto Osumidayu III’s performance career in Taiwan. Next, the research focuses on the development of gidayu bushi during the Meiji period, using articles on theater performances published in Taiwan Daily News (Taiwan Nichinichi Shinpo) and performing arts magazines to understand gidayu bushi audiences in colonial Taiwan before Takemoto arrived on the island. By unraveling historical data and interpreting relevant literature, the development of gidayu bushi in mainland Japan during the same era is also examined. This research shows how, under the influence of red-light district culture and the popularity of Musume Gidayu（娘義太夫）, Onna Gidayu（女義太夫） became active in the local area and played an important role in the popularization of gidayu bushi in Taiwan under Japanese rule. Onna Gidayu performed in yose and theaters, and also taught and passed down their techniques, serving as promoters of Shiroto Gidayu（素人義太夫）. Due to the prevalence of shiroto gidayu in Taiwan, the close bonds among the performers, and the high degree of artistic appreciation, Takemoto Osumidayu Ⅲ encountered enthusiastic audiences and a stable theatrical market when he came to Taiwan to perform.