On the Relationship between Taiwan''s New Drama by the Culturally Enlightened and China''s Drama in the 1920s and 1930s

• Main Authors: Chia-Jung Hsieh, 解佳蓉
• Other Authors: 林鶴宜
• Format: Others
• Language: zh-TW
• Published: 2016
• Online Access: http://ndltd.ncl.edu.tw/handle/635ww6

碩士 === 國立臺灣大學 === 戲劇學研究所 === 104 === The formation of Taiwan’s New Drama was majorly influenced by Japan and China. While the former’s influence has been vastly studied in recent years, the research on the latter’s influence has remained marginal with a vague understanding that “Taiwan’s New Drama was under the influence of by China’s Crude Stage Play (bûn-bîng hì) and May Fourth Drama” without investigating its essence and explaining the scope, period, and degree of influence. On this account, in order to clarify the substantive relationship between Taiwan’s New Drama promoted by the culturally enlightened and China’s drama and its limitations, the author is dedicated to explore the history of Taiwan’s New Drama during the Japanese rule period through the exchange activities of Taiwanese new dramatists in Taiwan, Japan, and China, as well as the New Drama trend and the spread of texts. There are three main chapters in this study: in Chapter Two, the author discusses how China’s New Literature Movement and Amoy (Ē-mn̂g) Popular Education Club motivated Taiwan’s New Drama in the 1920s, and how the influence was replaced by Japan since the late 1920s due to the fact that the insufficient learning experience failed to accelerate the development of Taiwan’s New Drama. In Chapter Three, the author discusses the Taiwanese people’s contact with China’s drama circle in Japan, focusing on the exchanges between Ngôo Khun-hông (1909-1989) and left-wing dramatists in the 1930s. Lastly, in Chapter Four, the author analyzes the Chinese scripts played in Taiwan.