二十世紀初的臺灣多媒體劇場──日治時期連鎖劇在臺灣

A Multimedia Theatre of the Early 20th Century in Taiwan-Rensageki (Chain Theatre) during the Japanese Colonial Period

10.6257/JOTS.202407_(34).041

康尹貞(Yin-chen KANG)

連鎖劇 ； 佐久間熊男 ； 睦團 ； 寶萊團 ； キネオラマ ； rensageki ； chain theatre ； Sakuma Kumao ； Pó-lâi Company ； kineorama

戲劇研究

34期（2024 / 07 / 01）

41 - 90

繁體中文;英文

「連鎖劇」對於今日的臺灣劇場界與電影界而言已是個遙遠的名詞，此種結合「新派劇」和「活動寫真」的劇場形式，在日本可能濫觴於一八九七年，一九一三年發展成熟，進入全盛時期。連鎖劇至遲於一九一五年傳入臺灣，與日本劇場的流行步調並未相去太久。一九二三年臺灣人亦組連鎖劇團：寶萊團。一九二四年後日本的連鎖劇人氣大為衰退，但並未完全絕跡。對照臺灣，至一九三七年，也就是日中開戰當年，除了一九二九、一九三一、一九三五、一九三六這四個年度之外，其他年度均有連鎖劇的演出紀錄。也就是連鎖劇在日本內地人氣暴落之後，在臺灣仍有一定的吸引力。不僅有為數不少的日本連鎖劇團曾訪臺巡演，許多劇團且於巡演期間拍攝臺灣景物作為劇中播放的背景，可視為連鎖劇之初步「臺灣化」。從一九三八年至一九四五年終戰為止，日本和臺灣則幾乎不再看到連鎖劇演出的相關報導。戰後日本亦偶有連鎖劇演出，一九四九、一九五九、一九七九、一九八○年曾有演出紀錄。臺灣方面則曾有一波重興，一九五○年代，歌仔戲頗有將電影運用於舞台之舉。然由於連鎖劇這種同時利用劇場與電影媒體的形式，須在室內劇場方能製作，因此當一九六○年代以後內臺戲時代結束，連鎖劇便隨從臺灣的劇場消失了。至二十世紀晚期，連鎖劇雖然已退出日本和臺灣的舞台走入歷史，但影音媒體的運用，在現當代劇場越來越普遍平常。現當代各表演藝術工作者或許並不熟悉臺灣過往連鎖劇的歷史，但亦在不知不覺間繼承了連鎖劇這種結合舞台與彼時新興媒體的實驗與創新精神。

Rensageki, literally "chain theatre," to Taiwanese theatre nowadays, seems a term used long ago. This theatrical form, which combined Japanese shimpa and film, probably originated in Japan in 1897. It was developed by 1913 and spread to Taiwan no later than 1915. In 1923, Taiwanese also organized a chain theatre troupe, Pólâi Company. Chain theatre reached a peak by 1924 and then declined sharply in Japan. In comparison with Japan, by 1937, the year when the Sino-Japanese War broke out, every year there would be a chain theatre troupe visiting Taiwan except 1929, 1931, 1935 and 1936. In other words, chain theatre was still attractive to Taiwanese audiences to some extent while its popularity plummeted in Japan. Many rensageki troupes visited Taiwan during the pre-war period. The troupes often shot scenes in Taiwan while producing works during their visits. It could be viewed as Taiwanization of Japanese rensageki. However, from 1938 to 1945, reports about chain theatre disappeared from newspapers. In post-war Japan, chain theatre was occasionally played. There were records in 1949, 1959, 1979 and 1980. In Taiwan, chain theatre reappeared in the 1950s, mainly performed by kua-a-hi troupes. However, after the 1960s, chain theatre faded away. Since the form of rensageki consisted of theatre and film, it had to be produced in indoor theatres. Therefore, when the popularity of indoor theatrical plays came to an end after the 1960s, rensageki disappeared in Taiwanese theatre as well. By the end of the 20th century, chain theatre had become history both in Japan and Taiwan. Nevertheless, video media is adopted in contemporary theatre more and more common. This phenomenon is not limited to drama but extended to other kinds of performing arts. Perhaps contemporary Taiwanese performers or actors hardly know chain theatre, but they unconsciously inherit the innovative and experimental spirit, which was displayed by chain theatre, to connect stage plays with new media during their time. In other words, stage players would undoubtedly come up with the idea to source audio or video materials into stage space. It is also an inevitable trend for the development of theatre since the late 19th century when modern technology launched the invention of all kinds of video and audio media never seen before.