關於基隆戲劇演出的記載，多半以北管、傳統戲曲為主，新劇的演出紀錄並不多。然而在台灣的戲劇史料中，卻有兩部與基隆有關的赫赫有名的劇作，一是由日治後期「厚生演劇研究會」成員林摶秋以基隆為背景所寫的劇本《高砂館》；一是根據日治時期的新聞事件所改寫的民間歌仔〈基隆七號房慘案歌〉，該事件也改編成電影。這兩個故事，有著濃濃的基隆在地情味，也使得「基隆」這個地方在台灣戲劇史上被凸顯了出來。有趣的是這兩個劇作中，《高砂館》雖是一個虛構的故事，卻有著真實的時代背景，呈現真實的時代氛圍；而〈基隆七號房慘案〉雖是一個真實事件，卻是在戲劇虛構的包裝下流傳開來。戲劇真實與虛構的界限，在這兩個劇作中被模糊了，而這也正是戲劇迷人的所在。 本文即從這兩個故事出發，分析劇作中所描述的基隆，以及其對基隆歷史的再現（representation），並探討戲劇手法如何對地方歷史進行詮釋。 According to the record of Keelung Drama, it mainly presents Pei-Kuan（北管） and traditional drama, the new story did not present a lot in the record.However in Taiwan Drama’s History, there are two very famous stories related to Keelung. The first one 《Gao Sha Guan》（《高砂館》）is written by the member of 「Hou Sheng Drama Research Group- Lin Tuan-Ciou」（「厚生演劇研究會」- 林摶秋）, this story was born during the end era when Japanese dominate Taiwan. Another one 〈The Song of Keelung Room No.7 Murder Case〉（〈基隆七號房慘案歌〉）is base on the news happened in Japanese dominion time, this story also became a movie. Both of these two stories chose the location Keelung as background, and it made Keelung be noticed in Taiwan Drama’s history.The most interesting thing is, though 《Gao Sha Guan》（《高砂館》）is a fictitious story but has a true background and timing, it showed a real period atmosphere. And 〈The Song of Keelung Room No.7 Murder Case〉（〈基隆七號房慘案歌〉）is a real story, but spread around by drama.The real and fictitious line is blurred in these two stories, and it is the attraction of a Drama. This article will start from these two stories, to analyze the location Keelung in the drama, the representation of Keelung’s history, and study how the drama interpreted the area history.
