各民族的戏剧均有其文化性格与基因,在遭遇异族入侵与占领时,往往成为维护民族文化传统的特殊手段。日本殖民当局占领台湾后,有意识地将日本戏剧引进到台湾,但是清末民初台湾剧场建设的热潮,却激发了民众的戏剧欣赏需求,反而推动了中国大陆的剧种与戏班大批赴台演出。抗日战争爆发后,日本当局进一步推动“皇民化”运动,对源于中国大陆的剧种实施严酷的打压措施,且试图改造台湾本地的歌仔戏,希图利用话剧,使之成为“皇民化”政策的宣传工具,而这遭到台湾歌仔戏艺人和话剧工作者的顽强抵抗。日本侵占时期台湾戏剧的发展轨迹,折射出台湾民众的文化认同,更说明民众喜爱的戏剧拥有超越政治军事的力量。 Each nationality’s drama has its own cultural personality and gene. When encountering an alien invasion and occupation, it often becomes a special means of safeguarding the national cultural tradition. After the Japanese colonial authorities seized Taiwan, they consciously introduced Japanese dramas to Taiwan. However, the upsurge in the construction of Taiwan’s theater during the late Qing Dynasty and the early Republic’s rebellions stimulated the public’s demand for dramatic appreciation, instead, it promoted a large number of Chinese mainland operas and troupes to perform in Taiwan. After the outbreak of the War of Resistance against Japan, the Japanese authorities further pushed forward the “imperialization” campaign, severely suppressed the operas originated in mainland China, and attempted to transform Taiwan’s local Taiwanese opera by using drama to make it “emperor Civilized ”policy propaganda tool, which was Taiwan’s Taiwanese opera artists and drama workers tenacious resistance. The trajectory of Taiwan drama during the period of Japanese occupation reflects the cultural identity of the Taiwanese people. It also shows that the popular drama of the people has the power to surpass political and military forces.