| Abstract: | 所謂「北拱樂，南日光」，指稱的是臺灣歌仔戲發展史上，兩個極具代表性的大型 内台歌仔戲團，雲林麥寮陳澄三主掌的「拱樂社」，以及由羅木生經營的高雄「日光歌 劇團」。1936年創團的「日光歌劇團」，以「多角化」的複合式經營策略，從内台到外台， 從活戲到定本劇，從肉聲團到錄音班，從歌劇團到歌舞團等，一路走來建立自己的演藝 王國，在全省各地烙印下精彩豐富的大眾表演藝術光影：時至今日，仍有不少出身於「日 光歌劇團」的成員，在南臺灣開枝散業自組歌劇團營生，組構出極為壯觀的日光傳承譜 系。本計畫擬以「藝人口述歷史」為主體，結合日光團長夫人、演員、樂師、綁戲囝子、 見習生與後場工作人員等，近百位藝人個別生命演藝史的口述訪談紀錄，以及組合群體 成員的交叉對談互動回憶；並搭配與戲單劇照、錄音戲齣、劇本手稿與報刊史料等戲曲 文物史料的蒐集整理及積鉤互證，進行為期「二年」的《再現「日光」一高雄「日光歌 劇團」歷史光影踏查與傳承譜系考述》（i、n)專題研究計畫，以梳理日光成員的傳承 譜系及對劇團的集體記憶（collective memory)，建構「日光歌劇團」在臺灣歌仔戲史上 的歷史意義與文化價值，也為臺灣歌仔戲補白歷史與書寫當下。
In the history of Taiwanese Opera, the phrase “Gong-yue Club in the north and Sunlight Opera in the south” indicates the two representative Neitai (theatrical) Opera Troupes, Gong-Yue Club, managed by Chen Chen-San form Mailiao, Yunlin, and Sunlight Opera, managed by Luo Mu-Sheng from Kaoshiung. Founded in 1936, Sunlight Opera had participated in various forms of performance, including in-theater and outdoor Operas, script-based and more improvisational performances, even serving as song and dance ensemble. Since then, there have been many actors and actresses from Sunlight Opera grouping their own Opera troupes, all of which has constructed a complicated genealogy of the Sunlight generation. This project is based on oral histories, collecting interview records of the performance histories of participants, including the wife of the manager, actors, actresses, among many, and also interview records in which multiple participants are interviewed at a time. By combining the interviews listed above and historical data, including photos, documents, recordings etc., this two-year project “Showing the Sunlight—history, heritage and pedigree of Kaohsiung Sunlight Opera”（I) (II) aims at presenting the genealogy, generations and the collective memories of Sunlight Opera members, constructing the historical meaning and culture value of Sunlight Opera, and supply what has been omitted in the history of Taiwanese Opera. |
