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清末,改良图存呼声撼动着积贫积弱的中国社会根基,催化民智的需求呼唤着社会价值与人生观念的变革,导致了传统戏曲的改良和“新剧”的创建。1907年,由中国留日学生组成的“春柳社”在日本东京中华基督教青年会馆演出《茶花女》片段,被史学家作为中国话剧史开端的标志。到今年整整100年过去了。回首百年,中国话剧在跌跌撞撞中一步步成长,在中国近现代文化史之路上沧桑无数,亦荣光相随。1921年由从大陆返台青年学生组成的“鼎新社”在台湾上演《社会阶级》、《良心的恋爱》等剧目到今天,台湾话剧也走过了她近90年的风华。当我们回望台湾话剧发展史时,看到的不仅仅是台湾话剧在中国话剧发展史上所占有的重要位置,更是台湾话剧中所承载的对民族历史、生命体验的反思和对中华传统文化的深厚积淀。
At the end of the Qing Dynasty, the improvement of the voice of the society was shaking the foundation of the poor and feeble Chinese society. The demand of catalysing the people’s wisdom called for the change of social values and concepts of life, leading to the improvement of traditional opera and the creation of “new drama.” In 1907, Chunliu Society, a school for Chinese students studying in Japan, performed a fragment of “Camellia” at the Chinese YMCA in Tokyo, Japan, and was used by historians as a symbol of the beginning of the history of Chinese drama. A full 100 years have passed this year. Looking back on a hundred years, Chinese drama has been growing step by step in stumble, and has experienced numerous vicissitudes along the road of modern and contemporary Chinese culture. In 1921, “Ding Xin She”, a youth student who returned to Taiwan from the mainland, staged his “social class” and “love of conscience” in Taiwan. Today, Taiwan’s drama has also gone through nearly 90 years of her elegance. When we look back at the history of the development of Taiwan’s drama, we not only see the important position that Taiwan’s drama occupies in the history of the development of Chinese drama, but also reflect on the history of the nation and the experience of life carried by Taiwan’s drama and reflect on the traditional Chinese culture Deep accumulation.