當代臺語音樂劇中日治時期的再現：以《青春美夢》、《四月望雨》、《渭水春風》、《我是油彩的化身》為例

Abstract

本篇論文以臺語音樂劇《青春美夢》、《四月望雨》、《渭水春風》、《我是油彩的化身》四個作品為討論對象，這四部作品分別是以日治時期的臺灣人物張維賢、鄧雨賢、蔣渭水、陳澄波為主角，本文將討論這四個出現在臺灣意識興起後的作品如何替觀眾建構日治時期，以及建構出何種日治時期的樣貌。 八〇年代後臺灣意識興起，歷史、文學等方面皆展開了以臺灣為主體的思考方式，在這樣的背景下《青春美夢》為了回應臺灣意識，在劇情編排上去除了張維賢人生中的中國經驗。而《四月望雨》、《渭水春風》、《我是油彩的化身》向觀眾展現出強烈的介紹意圖，試圖填補之前黨國教育下臺灣史的空白，向觀眾介紹具備「現代性」特質的主角，以及現代、摩登的殖民時期。若將戰後臺灣的戒嚴統治納入考量，會發現這些作品對於現代性的提倡，其實具有抵抗現實政治的積極意義，而非是殖民主義的殘存。 另外由於這些作品出現於臺灣意識出現後的社會，並不著重描寫主角如何處理身份認同的過程，在作品中不是迴避這個問題，就是直接讓主角認定自己為臺灣人，不再游離於日本、中國、臺灣之間。除此之外，劇中的臺灣人角色亦沒有表現出被殖民者的臣屬心態，在言行各方面的表現上，都未受殖民者建立的族群階序影響，被創作者賦予了不卑不亢的英雄色彩。這些作品可視為臺灣在戰後黨國體制下的雙重殖民後嘗試恢復自信的過程，然而在這些過程中，為了建立臺灣人的英雄特質，也丟失了殖民情境下臺灣人作為次等族群的歷史傷痛。

This thesis focuses on four Taiwanese Musicals “A Beautiful Dream of Youth”, “April Rain”, “The Impossible Times”, “Wo Shi You Cai De Hua Shen”. Those musical’s story are talking about Japanese colony period and base on the real person. In additions those works are created after democratization and in the wave of awaking Taiwanese consciousness. This thesis is try to analysis how those works to represent Japanese colony period. In Taiwan’s 80s, the protester from Tang-wai(黨外) rebuilt the history and literature tradition. Their view points are very different from the government in the martial law period which based on China-centred thinking. The protester from Tang-wai created Taiwan consciousness which means Taiwanese have their own subjectivity and don’t attach China anymore. To response the raising of Taiwan consciousness of audience, “A Beautiful Dream of Youth“cut china experience of main character（Zhang Weixian）. To audience, in Japanese colony period only can see Zhang Weixian lived in Taiwan and Japan, and this period means a beautiful dream. On the other hand, “April Rain”, “The Impossible Times”, “Wo Shi You Cai De Hua Shen” intent to introduce colony period to audience. Therefore, those works are like a Journey, to show audience how the main character lives. However, we can notice that the Journey is focuses on showing colonial modernity. It’s looks like Taiwan’s society is tripped by colonialism, but if we realize the society of martial law period, it can be positive as against to government’s historical view. Those four musical be created in the period of Taiwanese identity raising. Therefore, we are hard to see the identity process of Taiwanese characters in plots. In those works, Taiwanese character’s identity is specific and direct, without doubt. On the other side, those work avoid to describe racial discrimination of colony period. Those musicals give their main characters heroic temperament, but at same time, losing the chance to discover the trauma of colony period.