林傳凱。〈閻王、三姑、白蛇傳：戰後地下黨的「工人政治戲劇」（1949–1950s）〉。《民俗曲藝》223 (2024.3): 105-51。
Lin Chuan-kai. “Yan Wang, Sangu, and the White Snake: A History of the “Workers’ Political New Drama” of the Post-War Underground Party (1949-1950s).” Journal of Chinese Ritual, Theatre and Folklore 223 (2024.3): 105-51.
Abstract
本文爬梳與戰後初期臺灣省工作委員會的「工人政治戲劇」。本文指出，自1920年代臺灣出現以戲劇改革社會改革的實踐後，長期存在「階級身分」及「與地方社會扞格」的雙重門檻，導致參與者乃至於觀眾多為知識分子。戰後，地下黨基於動員工人的目標，基於其文藝觀，開始出現運用本地語言、本地劇種、並邀請工人進入編、導、演等環節的實驗。其中，劇情更積極挪用工人熟悉的神、鬼、妖故事並批判性的加以改造。這催生了兩種特殊的戲劇案例：工人臺語話劇、改良歌仔戲，並一度於1949年於臺北市的工人間引發熱烈迴響。不過，隨着1950年「白色恐怖」，這些參與者最終以死難收場，導致剛浮現的跨越雙重門檻的潛力就此告終。
This paper reconstructs the history of the “workers’ political new drama” performed by the “Taiwan Provincial Working Committee” of the underground party during the early postwar period. It argues that, following the emergence of “political new drama” in Taiwan in the 1920s, the “double threshold” of “class” and “incompatibility with local culture” had existed for a long time, resulting in its appearing largely limited to intellectuals. After the war, the underground party promoted the “drama movement” due to its “literary and artistic view,” which led to the tendency of actively appropriating local culture and mobilizing workers as creators. In terms of form, this wave of “drama movement” used Taiwanese language and the “native” drama genre Taiwanese Opera, while also combining elements of folk songs; in terms of content, it appropriated familiar stories of gods, ghosts and demons, and transformed them into stories of “class oppression” through “de-spiritualization.” This workers’ movement aroused enthusiastic reactions among Taipei laborers in 1949 and only fell silent after the peak of the “White Terror” during the 1950s.