日中戦争下の植民地台湾謡曲界

Abstract

This research reconstructs how Noh & Utai circles that were born around 1900 in Colonial Taiwan tried to survive under wartime controls and regulations during the Sino-Japanese War that broke out in July 1937. Noh & Utai circles sought to find a place for themselves by rewarding the government/authority/emperor as ‘Geinoh Hokoku(芸能報国)’, which was essentially cooperation and participation in militarism. The logic that the Empire of Japan must win this war to achieve ‘On Peace in the East(東洋平和)’ was infiltrating the general public as well as the Noh actors. Meanwhile, regulations of the military and police forces made the Noh actors overwork, lose opportunities and venues to perform and difficult to train the Utai trainees; this threatened the livelihood of the Noh actors. This is an aspect of cultural power that was interweaved by wartime authority and culture which was happening in all of the colonies including Taiwan, Joseon(Korea), and Manchuria without exception. Through Taiwan’s Noh actors, the agony accumulated in economic deprivation that even surpassed the loyalty to the nation and pride as an artist can be observed. The Noh and Utai were mobilized in wartime propaganda to protect national polity in the name of ‘Janapese Spirit/Nippon Seishin(日本精神、日本精神の国粋)’.