Abstract
During the age of Japanese rule, nontraditional theatrical forms appeared in the 1910s, and dramas with nontraditional theatrical forms were often performed in the 1920s in Taiwan. Due to the influence of the Tsukiji Sho-Gekijo, Taiwanese and Japanese people living in Taiwan began to participate in shingeki in the 1920s. In the 1920s, dramas based on Taiwan’s culture were produced in conjunction with sociocultural movements. In the 1930s, shingeki was performed by Japanese adults and high school students. Kominka-related theatre was also positively performed during the period of the kominka movement (1935–1945).
On the other hand, the effect of the New Literature Movement on shingeki in Taiwan, derived from the May Fourth Movement that occurred in 1919 in China, is not negligible. Information on the New Literature Movement was directly and indirectly transmitted to Taiwan through Taiwanese intellectuals who studied, travelled, and lived in China and Japan, respectively. They succeeded the tradition and history of theatre in China, which refers to the tradition after the 1930s and does not include left-wing directors and dialogue dramas.
Shingeki in Taiwan was significantly affected by China and Japan, and European dramas were often known by Taiwanese through their translation into Japanese or Chinese. The above-mentioned two shingeki movements in Taiwan affected each other greatly.
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Notes
- 1.
Wu Mi-cha, The Study of Modern Taiwan History. Taipei: Dawshiang, 1985, p. 81.
- 2.
The first shingeki performance in Taiwan was in 1911; Kawakami Otojiro brought the “Syosei Shibai” to Taipei’s Asahi Theater. Later, Japanese in Taiwan established companies with Taiwanese actors, such as Toyojiro Takamatsu’s Taiwan Seigeki Study Group, or two productions in 1919 presented by Taiwanese students Chang Shen-chieh (1904–1965) and others. Those productions are sometimes regarded as the beginning of Taiwan shingeki but actually have only limited influence.
- 3.
The beginning of modernization of Taiwan had been started before Japanese colonial period. After the Mutan Village Incident (1874), the court of Ching Dynasty had noticed the strategic importance of Taiwan and started to improve coastal defence. However, due to the political infighting of the court, modernization of Taiwan did not last long.
- 4.
Chen Chien-chung, Taiwanese Writers in Japanese Colonial Period: Modernization, Localization, Colonization, Taipei: Wunan, 2004, p. 4.
- 5.
Ku Chung-hwa, “Modernization of Taiwan: Whose modernization? What kind of modernization?”, Contemporary, vol. 221, 2006, p. 74.
- 6.
Raymond, Williams,Keywords–A Vocabulary of Culture and Society, Liu Chien-chi trans., Taipei: Chuliu, 2004, pp. 248–249; see also Huang Ko-wu, “The beginning of the conception of modern and the reflection of history study”, Contemporary, vol. 223, 2006, p. 76.
- 7.
Huang, “The beginning of the conception of modern and the reflection of history study”, pp. 76–77.
- 8.
King Yeo-chi, From Traditional to Modernised. Taipei: China Times Publishing, 1997; see also Ku, “Modernization of Taiwan: Whose modernization? What kind of modernization?”, p. 67.
- 9.
Chen Feng-ming, Colonial Modernity: Historical and Literary Perspectives on Taiwan. Taipei: Rye Field, 2004, pp. 9–19.
- 10.
Lo Shih-yun, Yu Da-fu in Taiwan: Process of acceptance from Japanese Colonial period to Postwar period. Master thesis, National Chengchi University Graduate Institute of Taiwanese Literature, Taipei, 2009, pp. 58–61, pp. 66–68.
- 11.
Nai Shuang (Cheung Wai-yin ), “Brief History of Taiwan Shingeki Movement”, Taipei Cultural Relics, vol. 3–21, 954, pp. 83–91.
- 12.
Cheung Wai-yin , “My theatrical recollection”, Taipei Cultural Relics, vol. 3–21, 954 Aug., p. 105.
- 13.
Shima, Rikuhei (Atsumu Uchiyama), “The Youth and Taiwan 2: Idea and Practice of Shingeki movement”, Taiwan News, vol. 197, 1936 Apr. 1st. Tu Cui-ha trans., Huang Ying-zhe ed., Taiwan Literary Criticism in Japanese Colonial Period: Magazine vol. 1, pp. 468–479.
- 14.
Ibid.
- 15.
Ibid.
- 16.
Yan-Feng Theatrical Study Group was established by Chang Shen-chieh in Cautun, 1925. There are some distances between the two towns Cautun and Wufeng, although both of them belonged to Taichung City. Since the two families Lin and Chang were having close relationship, and Lin Yun-long (1907–1959) from the famous Lin family in Wufeng might have been chairman of the study group, “Yan-Feng in Wufeng” was more well-known than in Cautun.
- 17.
Chiu Kun-liang, “Concept, Assumption and Interpretation: The Chapter of Taiwanese Modern Theatre under Japanese Rule”, Taipei Theatre Journal, vol. 13, Taipei: TNUA, 2011 Jan., pp. 15–16.
- 18.
In the early years of colonial period, in order to encourage sports, police superintendent general Kumaji Oshima established sports club (including martial arts, horsemanship, bicycle, baseball, tennis, football, bowling, and gymnastics), holding contests and inviting local Taiwanese to join in. Tennis players’ passion about shingeki shows that for middle class at the time, shingeki was regarded as a part of modernization. See Lin Ting-kuo “On-the-island and Outside-the-island Competition Performance of Tennis and Baseball of Taiwan During Japanese Colonial Period”, Taiwan Historical Research, vol. 16–4, 2009 Dec., Taipei: Institute of Taiwan History, Academia Sinica, pp. 37–80.
- 19.
“Tennis Column I”, Taiwan Daily News, 1909 Apr. 3.
- 20.
In the 1920s, famous Taiwanese tennis players include Chang Yu-chuan, Chang Ju-ling, and Wang Hsiu-chuan in Taipei; Yeh Yun-chang, Chang Jin-lu, and Sung Yan-ti in Taichung; and Shiu Chiu-feng and Shiu Jin-shan in Tainan.
- 21.
In Russian, while speaking about “walk”(idti/poidti), people usually use past tense “shli/poshli”; therefore “walk among people”(idti/poidti v narod)would become “shil/poshli v narod”,and its meaning can be turned into “popularize”. The name “Xu Li” may come from Russian.
- 22.
Cheung Wai-yin , “My theatrical recollection”, p. 106.
- 23.
Chiu Kun-liang, Kyugeki and Shingeki: Study of Taiwan Theatre in Japanese Colonial Period (1895–1945), Taipei: Independence Evening Pose, 1992, pp. 318–319.
- 24.
Their achievements included Eugene O’Neill’s Ile and Dunsany’s Glittering Gate, staged by Ryoujin-za in early 1925; in November 26 and 27, 1928, at the Theatre Bureau in the Taiwan Governor-General Railway , Taihoku High School staged their original work Train of the Steal, Rijo Tyutei’s Hatsusyoujinn, Tamiji Okamoto’s Kyoraku Ranba, Youbunn Kaneko’s Saka, Komatsu Kitamura’s Fang Ta-yi, Kan Kikuchi’s Jyunnbann, and Dunsany’s Gods of the Mountain.
- 25.
Kaoru Osanai was born in Hiroshima, 1881. After he graduated from Imperial University of Tokyo, he started to participate in theatre and begin his writing on poet and novel. In 1909, after studying in Europe, he established the Jiyu Gekijo with Kabuki actor Sadanji Ichikawa II, imitating Western realism drama and created the Japanese shingeki. In 1924, he established Tsukiji Sho-Gekijyo with Yoshi Hijikata, who was rushed back to Japan after the Earthquake of Tokyo. This theatre becomes the foothold of shingeki movement.
- 26.
Masatsune Nakamura (1901–1981) playwright and novelist was born in Koishikawa, Tokyo. He was a student of Kunio Kishida and made his debut by the play Makaroni, 1929. His works were characterized by humour and nonsense; main works included Innseki no Nedoko, Boa-kichi no Kyuukonn, and Futari-You no Shinndai. Hiroichiro Maedako (1888–1957) was born in Sendai. He went to Tokyo in 1905 and became one of Roka Tokutomi’s students. He went to America in 1907 by Tokutomi’s financial support. He was a diplomat, gardener, and reporter; main works included Pray: Play Collection, Koshiraerareta Otoko, and Third-class Passenger.
- 27.
Appendix 1.
- 28.
Zhang Geng, “Qu Yuan ”, Taiwan People News, 1924 Aug. 1st, vol. 2 no. 14.
- 29.
Tao Yao, “Jue Ju”, Taiwan People News, 1924 Sep. 21th, vol. 2 no. 18.
- 30.
When Taiwan People News reprinted Shuo Bu Chu, they mistaken the author as Hu Suh, but it should be Chen Da-bei. SeeMeng Shan-shan, “Thriving of ‘Amateur Drama Movement’ during May Fourth Period”, Beijing People’s Art Theatre Magazine, 2007 vol. 3. (http://www.bjry.com/bjry/ykzl/200703/1279.shtml).
- 31.
Tao Xin, “Wo Bu Zi You”, Taiwan People News, 1927 Sep. 4th, no. 172, p. 8.
- 32.
Constructed from specific historical experience, James Scott’s concept of hidden transcripts was to express unequal power relationship and the daily resistance of the minority. See James Scott, Domination and the Arts of Resistance: Hidden Transcript. New Haven: Yale University Press, 1990.
- 33.
More detail about Chinese plays on Taiwan People News , see Li Wan-ju, “Taiwan Shingeki and elites in 1920s: Focus on Taiwan People News”, Theatre and Film Studies, 2007 vol. 1, Tokyo: Waseda University Theatre Museum Global COE Programme.: Appendix 2.
- 34.
Hou Yao , Fu Huo De Qiang Wei, Shanghai: Commercial Press Ltd., 1924, p. 26.
- 35.
Ibid., p. 47.
- 36.
He joined several film productions such as in Hypocrite as actor, Detective’s Blood (1928) as playwright, and God of Peace (1926) as assistant director (directed by Hou Yao).
- 37.
Xu Gong-mei, “Fu Quan Zhi Xia), Qi Tu, Shanghai: Commercial Press Ltd., 1928, p. 10.
- 38.
Ibid., p. 11.
- 39.
Ibid., p. 51.
- 40.
Ibid., p. 52.
- 41.
Xu Gong-mei’s three plays that mentioned here all took place in China’s big cities, such as Shanghai, Beijing, or “a certain big harbor at the south”. The time background was between 1921 and 1922, just at the time of Chinese cultural transformation. In the preface of Qi Tu written by Ouyang Yu-qian, Ouyang mentioned about how grand the “Confucian orthodoxy” is, and therefore to destroy its constraint is necessary. Ouyang Yu-qian, “Preface I”, ibid., p. 1.
- 42.
Cheung Wai-yin “My theatrical recollection”, p. 107.
- 43.
Nai Shuang (Cheung Wai-yin) , “About Taiwan Drama: Focus on Plays that using Taiwanese”, Taiwan New Literature, 1936 Nov., pp. 35–38.
- 44.
Liu Shu-chin, “The Marginal Struggle in Taiwan Literature: Taiwan Writers Studying in Tokyo in the Cross Domain Leftist Literary Movement”, NTU Studies in Taiwan Literature, vol. 3, 2007.
- 45.
МОРТ was the contraction of Russian words “International Revolutionary Theater Alliance”(Международное объединение революционных театров).
- 46.
Taiwan Governor General Office Department of Police, The Evolution of Taiwan Police System III, Taipei: SMC Publishing Inc., 1995 Jun., p. 67.
- 47.
Shie Shuang-tian, “Poet who Start Afresh: An Interview with Wu Kun-Huang”, Central Monthly vol. 14–7, 1982 May, p. 90.
- 48.
Wu Yong-fu, “Sz Shiang Chi”,Complete works of Wu Yong-fu vol. 6, Taipei: Chuan Shen Fu Yin, 1996 May.
- 49.
For example, actress Chieko Takizawa who had directed the Taiwan Shadow Play Troup and Youth Drama Troup was a member of Shinn-kyou Troup, and her name was on the list.
- 50.
Nai Shuang (Cheung Wai-yin) , “About Taiwan Drama: Focus on Plays that using Taiwanese”, pp. 35–38.
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Cheung Wai-yin. 1954, August. My Theatrical Recollection. Taipei Cultural Relics 3–2: 105.
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———. 2011, January. Concept, Assumption and Interpretation: The Chapter of Taiwanese Modern Theatre Under Japanese Rule. Taipei Theatre Journal 13: 15–16. Taipei: TNUA.
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Appendices
Appendices
Appendix 1: Productions of Taiwan Shingeki in the 1920s
Time | Title | Performer | Note |
|---|---|---|---|
End of 1923 | Konjiki Yasha, Koyo Ozaki | Taiwanese students who had studied in Japan, including Chang Mu-nien, Chang Shen-chieh, Wu San-lien, and others | Had been presented in recital of Takasago Dormitory, Tokyo |
December 1923 | Love Affair with Conscience (five-act) | Mainly by Ding Shin She in Changhua | Affected by Xiamen Popular Education Company , Chen Kan, Pan Lu, Sie Shu-yuan established Ding Shin She |
1924 | After Going Home, Ouyang Yu-qian | Ding Shin She in Changhua with Taiwanese Students League of Japan | In “A brief description of the shingeki movement in Taiwan”, Cheung Wai-yin mentioned that there was only one-act in After Going Home |
Konjiki Yasha | |||
Father Comes Back, one-act, Kan Kikuchi | |||
Black-and-white Face (one-act) | |||
Fu Huo De Qiang Wei, Hou Yao | |||
November 13–14, 1924 | Fu Quan Zhi Xia, one-act, human-interest play, Xu Gong-mei | Ming Fong Theatrical Company | |
1924 winter | The Greatest Event in Life, three-act, Hu Shi | Seng Kong Theatrical Study Group | Seng Kong Theatrical Study Group |
From the end of 1924 to the middle of 1925 | My Beloved, twenty-act, Chen Tiao-lu from the Hsin-tien Popular Education Company | Ding Shin She in Changhua | Ding Shin She in Changhua changed its name into “Changhua Shingeki She” and performed in Taichung, Wufeng, Tajia, Hsinchu, and Taipei |
Early 1925 | Ile, one-act, Eugene O’Neill | Ryoujin-za , Naichi Bungaku Seinen danntai | In the Taiwan Governor-General Railway as entertainments (“Youth and Taiwan II”) |
Glittering Gate, one-act, Dunsany | |||
October 1925 | The Greatest Event in Life | Fraternity Association | Performed in New Stage for 3 days and was the first shingeki performance in North Taiwan |
Clumsy Mother and Daughter, one-act comedy | |||
You Die First, one-act comedy | |||
Fu-Jung Chieh, eight-act | |||
Lotus Flower in Fire, eight-act) | |||
Ching Hai Tao | |||
November 26–27, 1928 | Train of the Steal, one-act, high school drama club | Taihoku High School | In the Taiwan Governor-General Railway , “The Night of Theatre” (“Youth and Taiwan II”) |
Hatsusyoujinn, one-act, Irijyou Ryoutei | |||
Kyouraku Midareba, two-act, Minji Okamoto | |||
Saka, one-act, Youbunn Kaneko | |||
Fang Ta-yi, four-act, Komatsu Kitamura | |||
Jyunnbann, one-act, Kann Kikuchi | |||
The Gods of Mountain, three-act, Dunsany | |||
1929 | Six Gentlemen in a Row, one-act, Jules Romains | Taihoku High School | In high school’s new lecture room, “The night of Theatre” 2nd. (“Youth and Taiwan II”) |
Domo-Mata No Shi, one-act, Takeo Arishima | |||
Nightclub, three-act and four-act, Maksim Gorky (*should be Chinese playwright Shi Tuo and Ke Ling’s rewrite, adapted from Gorky’s The Lower Depths) | |||
Mineworker, one-act, Marten | |||
A Son, one-act, Youbunn Kaneko | |||
Ayashii Kamotsusenn, four-act, Hisao Kitamura | |||
December 1930 | Fog, one-act, Eugene O’Neill | Kamakiri-za | Hold their first audition in Hinomaru Kaikann, Akashi-cyou. (“Youth and Taiwan II”) |
The Lighthouse, one-act, Matsuo Ito | |||
The Burden of Liberty, one-act, Tristan Bernard | |||
October 1931 | Ile, one-act, Eugene O’Neill | Taihoku High School | “The Night of Theatre” 4th. (the third was cancelled due to students’ strike) (“Youth and Taiwan III”) |
Alt-Heidelburg, four-act, Wilhelm Meyer-Forster | |||
Sanntakuya to Shijinn, one-act, Youbunn Kaneko | |||
The Last Masks, one-act, Schnitzler | |||
Shinasu, one-act, Takeo Takahashi | |||
June 1933 | Hanneles Himmelfahrt, Gerhart Hauptmann | Taihoku College of Commerce | Anniversary celebration of Taihoku College of Commerce (“Youth and Taiwan III”) |
The Gods of Mountain, Dunsany | |||
August 19–22, 1933 | Fei, one-act, Xu Gong-mei | Ming Fong Theatrical Company | Established in 1930 |
Cave Man’s Dream, nine-act, Haruo Sasa, adapted by Cheung Wai-yin | |||
A Dollar, one-act, David Pinski, adapted by Cheung Wai-yin | |||
An Enemy of the People, five-act, Ibsen , translated by Cheung Wai-yin | |||
February 27–28, 1934 | The Son, Kaoru Osanai | Theatrical Club | Theatre Festival, hold by Taiwan Theatre Association |
The Bridegroom, one-act, Lajos Bíró, adapted by Cheung Wai-yin, performed in Taiwanese | Ming Fong Theatrical Company | ||
Tengai Kaikaku, one-act, Hiroichiro Maedakou, performed in Japanese | Drama Study Group of Shinjin-za | ||
The Bear, Anton Chekhov, translated by Masao Yonekaw, performed in Japanese | Taihoku Theatre Group | ||
April 1934 | Winner and Loser, three-act, John Galsworthy | Taihoku High School | 7th Anniversary celebration of Taihoku High School (“Youth and Taiwan V”) |
Bon Suke Shinnsei’s One-side Beard, one-act, Masatsune Nakamura | |||
Human, five-act, Walter Hasenclever | |||
From Morning to Midnight, seven-act, Georg Kaiser | |||
Siblings, one-act, Kan Kikuchi | |||
Karl and Anna, four-act, Leonhard Frank | |||
April 1935 | Lightening, one-act, August Strindberg | Taihoku High School | 8th Anniversary celebration of Taihoku High School (“Youth and Taiwan V”) |
Yoru no Yado, four-act, Maksim Gorky(*renamed by Kaoru Osanai , original title was The Lower Depth) | |||
From Morning to Midnight | |||
The Wolves, one-act, Romain | |||
Rolland | |||
The Playboy of the Western World, three-act, John Millington Synge | |||
Faith and Homeland, three-act, Karl Schönherr | |||
June 1935 | The Dead Talks, three-act, Liou Tie-jia, in Taiwanese | Taihoku College of Commerce | “The Night of Theatre” in Taihoku College of Commerce(“Youth and Taiwan V”) |
Hamlet , two-act, Shakespeare , in English | |||
Riders to the Sea, one-act, John Millington Synge | |||
The Bear, one-act, Anton Chekhov |
Appendix 2 Plays Published in Taiwan People News
Publish date | Title | Author | Time background | Theme and main idea | Note | |
|---|---|---|---|---|---|---|
1. | April 15 and May 1, 1923 (Taishou Era 12) | The Greatest Event in Life (one-act) | Hu Shi | Criticizing feudal system and advocating freedom of choice in marriage | First published in La Jeunesse , March 1919, China | |
2. | Aug 1, 1924 (Taisho Era 13) | Qu Yuan | Zhang Geng (Qun Shan, who had been living in Japan) | About 300 BC, during the Warring States periods, when Chu Shiang Wang was on the throne | The confusion of elites and the wisdom of the bottom people | Note of the play: Wedding Congratulation to my friends Wu Hai-shui and Liu Mei-chu, Tokyo |
3. | September 21, 1924 (Taisho Era 13) | Jue Ju, short play, one-act) | Tao Yao | The conflict between old and new generations; get rid of superstitions; youth responsibilities of nation | ||
4. | May 1, 1925 (Taisho Era 14) | Shuo Bu Chu (“I Cannot Tell” | Hu Shi (should be Chen Da-bei) | “Any time” | Weak people should stand up against evil power in order to gain freedom | |
5. | September 4, 1927 (Showa Era 2) | Wo Bu Zi You (“I Have No Freedom” | Tao Xin | The relationship between husband and wife | First published in Min Chung News, China | |
6. | December 4, 11, 18, 25, 1927 (Showa Era 2) | Xin Shi Dai De Nan Nu (“Men and Women in the New Age” | Wang Jing-zhi | May 4, Republic Era 8 | The specific action of knowledge youth fighting for national rights; equal rights of men and women; objection to blind devotion to one’s parents | First published in Shan Chao, China |
7. | January 22, 29, February 5, 12, 1928 (Showa Era 3) | Ying Hua La (“Cherry Blossoms are Falling” | Shao Nie | In the day of Chun-ho, 1928 | People’s moral character | Note of the play: to my brothers in Tokyo Kou Kei Kai |
8. | June 3, 10, 1928 (Showa Era 3) | Jin Guo Ying Xiong (“A Brave Woman” | Qing Zhao (had been studied in China) | Freedom of choice in marriage; tragedy of cross cultural marriage; racial consciousness | Note of the play: to my friends, alumni of Tainan First Senior High School | |
9. | July 29, August 5, 1928 (Showa Era 3) | Ping Min De Tian Shi (“Angel of Commoners”, one-act) | Wu Jiang-leng | Sunset time at 1 day | Racial consciousness; challenging patriarchy system | First published in Shin Chao (《心潮》), vol. 1 no. 1, Nanjing, China (January 1923) |
10. | September 9, 16, 1928 (Showa Era 3) | Honeymoon Travel | Yen Hua | Lunar calendar January | Self-consciousness of female; love tragedy | First published in Woman Magazine, China |
11. | November 18, 1928 (Showa Era 3) | Fan Dong (“Reaction”, one-act) | Feng Qiu | In City S on July, 1928 | Youths devote to culture reform movement | |
12. | March 3, 10, 17, 24, 31,1929 (Showa Era 4) | Hui-lan Can Le (“Miserable Hui-lan”, one-act tragedy) | Qing Zhao | Summer of 1928 | Youths persist in reform movement | To dear Mo, in Nanjing Central University, February 8, 1929 |
13. | March 10, 1929 (Showa Era 4) | One-act Comedy | Shiue Gu (Chiang Wei-shui) | Phone conversation from 8 to 10 pm, February 27 | To ridicule on the police system |
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CHIU, KL. (2019). Movement of the Western Modern Drama in Taiwan and Its Modernity. In: Nagata, Y., Chaturvedi, R. (eds) Modernization of Asian Theatres. Springer, Singapore. https://doi.org/10.1007/978-981-13-6046-6_4
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