A Study of Common Life Entertainment in Taiwan During the Japanese Colonial Period from “The Diary of Chang Li-Jun”

• Main Authors: Shu-Hui Hsu, 許書惠
• Other Authors: 簡秀珍
• Format: Others
• Language: zh-TW
• Online Access: http://ndltd.ncl.edu.tw/handle/95b34n

碩士 === 國立臺北藝術大學 === 傳統藝術研究所 === 97 === The audience, besides performers, craftsmen, theatrical groups and the type of drama, is also an important part of performing arts when it comes to studying performing arts of Taiwan. Chang Li-Jun and “The Diary of Chang Li-Jun” represent as the “audience” to look into the common life entertainment in Taiwan during the Japanese colonial period and the social meaning of performing acts.First of all, we will make out the background of the life of Chang Li-Jun and the Han-society that he lived by the changes of society and economics in Taiwan from the waning days of the Qing dynasty to the initial stage of Japanese occupation. Then we find out the type of performing arts that Chang Li-Jun ever experienced including the drama called “improved drama(改良正劇)”, traditional opera including the theater whether open-air or indoor, performed by people or by puppet such as Taiwan Glove Puppet(布袋戲) and String Puppet Show(傀儡戲). And it contains many kinds of traditional drama like Chinese Traditional Opera(正音戲), Luantan Opera(亂彈戲), Baizi Opera(白字戲) , Jiu Jia Opera(九甲戲), Taiwanese Opera(歌仔戲), Hakka Tea-picking Opera(客家採茶戲), Glove Puppet with accent of Chao(潮調布袋戲) and Japanese Opera. Moreover, musical performances by zi-di(子弟), geisha, and static performances by musical troupe like Cart-Drum Array(鼓陣), peikuan and nankuan. Also, movies aim to convey news, knowledge, entertainment, and feature films. He played records by using gramophone as well, and it contained records of traditional drama. He listened to the radio with programs of traditional opera and music. He watched magic shows and acrobatics including those people need to pay for it and other ones for free because the activities of religious belief called lane-nao(弄鐃). There are still contents about animal shows, circus performances, Japanese geisha, Japanese actress and Tokyo Takarazuka(東京寶塚) in his diary. It also mentions the festive occasions that contains yi-chen (藝陣) and yi-ge(藝閣) such as celebrations of greeting gods, parade of water lanterns(放水燈) and funeral procession(出殯) with variety of different groups. In the fifth chapter, we will take a further look at the status that the performing acts to be in the society. The writing habits of Chang Li-Jun probably reflect his imagination about the celebration of Mazu(媽祖、天上聖母) in villages under Feng Yuan become a network for residents to keep in touch with each other by acting, worship and feast, base on the religious activities. The key point of a religious activity shows lively or lonely depends on the degree of interaction between residents and the relationship among villages in this area. People who pay for a public performance may take a chance to establish or revise relationship between he and his target audience. In this case, the “audience” will not only refer to the people standing or sitting in front of the stage but point to the whole society behind those people, and the master take this opportunity to interact with the society, or the local community. In addition, we also take a look at performing activities in Feng Yuan from a historical perspective using the diary of Chang Li-Jun as a kind of historical sources, including the influence of the global depression in 1930’s, and forbiddance and restriction on performing activities recorded by Chang Li-Jun in his diary. Last, we will observe the situation of female watching performing arts. It shows that they may need help from male just when the performances take place outside of Feng Yuan. Otherwise, basically the performing arts activities of female are also rich and colorful.