夢幻王國之南方情境：日本寶塚歌劇團三次台灣公演（2013-2018）

Abstract

本文以日本百年表演團體寶塚歌劇團2013年至2018年三次台灣公演進行研究，觀察其三次表演策略及漸進式演變。首先以歷史角度回顧，釐清自1914年成立至今的寶塚歌劇團，在尚未至台灣公演時，隨著各時期台日政治、文化交流之變遷，以何種樣貌存在於台灣大眾娛樂文化視野之中。以此理解來台灣公演前，寶塚與台灣觀眾彼此之間已存在的文化關聯性與親近性。 本文第三章至第五章以文本分析法、觀察法與訪談，研究寶塚歌劇團三次台灣公演劇作、歌舞秀表演。探究寶塚如何透過三次截然不同的表演風格與內容拓展台灣市場，與台灣觀眾交流對話，建立觀演關係。自三次公演內容，可觀察寶塚如何測試與規劃每一次表演，並於題材與選曲中顯現其對台灣觀眾的想像及理解。透過訪談，得以明白寶塚於台灣建構之舞台，與台灣觀眾真實想法之差距，又或於哪方面成功獲得台灣觀眾喜愛。最後，將一併討論台灣觀眾如何延伸展演，創造屬於台灣自身的寶塚記憶與景觀，並探討寶塚未來台灣公演可能性與方向。盼能藉此研究，深入觀察與紀錄日本寶塚與台灣觀眾的跨文化觀演情境。

The study analyzes the evolution strategies of three performances of Takarazuka Revue in Taiwan from 2013 to 2018. First of all, to grasp how the group has come into sight in Taiwanese mass culture before performing in Taiwan physically from a historical perspective, through adopting Takarazuka Revue which established in 1914, with the political relations and cultural exchanges between Taiwan and Japan in various periods. By this way of seeing, the cultural relevance and closeness between Takarazuka Revue and the Taiwan audience could be comprehended. Text analysis method, observation and interview are adopted to discuss the three performances of Takarazuka Revue in Taiwan from chapter 3 to chapter 5. The purpose is to explore how does Takarazuka Revue establish a relationship with the Taiwanese audience. On the other hand, this also presents the difference of plans in each performance of Takarazuka Revue, which reveals the group’s imagination and understanding toward Taiwanese audience in each theme and selection during these performances. The interview reveals the real ideas by Taiwanese audiences, which displays similar or different perspectives about the performing contents between the audience and the actors. Finally, the study discusses how the Taiwanese audience created their own memories with Takarazuka Revue, and describes the possibilities and further directions of Takarazuka performances in the future in Taiwan.