台灣戲院與台灣藝術劇社、G.G.S.跳舞團──戰後初期戲院經營、接收制度與表演團體的存續困境

Taiwan Theater and Its Performing Troupes: Theater Management, Property Takeover, and the Precarious Survival of the Taiwan Art Theater Society and the G.G.S. Dance Troupe in Early Postwar Taiwan

「台灣劇場」為日治時期建造之近代劇場，戰後改稱「台灣戲院」，並由商人張武曲接手經營。戰後初期，張武曲以戲院為基礎，投入表演團體的組織與營運，先後成立台灣藝術劇社及其旗下的G.G.S.跳舞團，形成戲院與歌舞團結合的經營模式，為戰後台灣表演文化的重要案例。
隨著戰後日產接收制度的推行，以及1947年二二八事件爆發，台灣戲院的產權與經營條件迅速改變。張武曲在事件中遭通緝，戲院經營權與租賃條件隨之受到影響，直接牽動其所屬表演團體的演出空間與存續可能。儘管如此，G.G.S.跳舞團於事件後一段時間內仍持續巡演，顯示表演活動並非立即中斷，而是在高度不確定的制度與政治情境中勉力維繫。
本文透過官方檔案、報刊新聞、廣告資料與口述訪談史料，重建台灣戲院於戰後接收制度與二二八事件前後的經營過程，並分析戲院經營條件的變化如何具體影響表演團體的組織與解散。藉由以戲院作為觀察核心，本文指出政治事件並非僅作用於個別人物或團體，而是透過制度與經營條件的轉變，深刻改寫戰後初期台灣表演文化的運作結構。

“Taiwan Theater”(Taiwan Gekijō) was a modern theater established during the Japanese colonial period and later renamed“Taiwan Theater Cinema”(Taiwan Xiyuan) after World War II. In the early postwar years, the businessman Tiunn Bú-khik took over its management and used the theater as a base for organizing and operating performance troupes. He successively founded the Taiwan Art Theater Society and its affiliated G.G.S. Dance Troupe, forming a management model that combined theater operation with revue performance groups, which became a notable example of postwar Taiwanese performance culture.
With the implementation of the postwar Japanese property takeover system and after the February 28 Incident in 1947, the ownership and operating conditions of Taiwan Theater Cinema changed rapidly. Tiunn Bú-khik was placed on a wanted list during the incident, and the theater’s leasing arrangements and management rights were subsequently affected, directly influencing the performance venue and the survival of its affiliated troupes. Nevertheless, the G.G.S. Dance Troupe continued touring for a period after the incident, demonstrating that performance activities did not cease immediately, but were instead maintained under highly unstable political and institutional circumstances.
Drawing on official archives, newspapers, advertisements, and oral history interviews, this article reconstructs the operation of Taiwan Theater Cinema during the postwar takeover period and around the February 28 Incident. It further examines how changes in the theater’s operating conditions concretely affected the organization and the eventual dissolution of its affiliated performance troupes. By taking the theater as the central focus of analysis, this study argues that political events did not affect only individual performers or groups; rather, through changes in institutional structures and operating conditions, they fundamentally reshaped the structure of postwar Taiwanese performance culture.