松旭齋天勝（1886–1944）這位集技藝、身材、美貌於一身的女魔術師， 在二十世紀上半葉征服了歐美與東亞各地的觀眾，她帶領自組的天勝一座來 臺灣總共14 次，平均每年停留一個月，票價昂貴，賣座卻非常好。本文以歷時性的觀點，用文獻分析的方式，從報紙、期刊、日記等資料整理該團在 臺灣的演出史，並討論演出環境與觀眾。天勝一座保留部分日本傳統奇術 外，大量吸收西方流行的爵士樂、雜技等，演出內容國際化，並發展出多種 魔術應用劇，節目銜接緊密。來臺灣幾乎都在中大型劇場演出，提供許多日 本同鄉會、公司、官方組織交誼的機會，也給予學生優待，然而一般必須要 經濟能力中上才可能欣賞。1925 年起，隨着農村經濟好轉，臺灣觀眾所佔比 例節節升高，天勝一座頻繁到訪，顯示臺灣已成為其東亞巡演網絡中的重 鎮。以天勝為主的女性表演者，滿足觀眾對於女體的想像，在雜技與魔術表 演中得到驚奇與刺激，在魔術應用劇中隨着劇情產生感動，讓觀眾在充滿異 國情調與情色的觀賞經驗中，彷彿又能碰觸到西方所代表的「文明」。然而不 敵東亞政治局勢的轉變，初代天勝在1934 年宣布退隱，交棒第二代，最終 塵絕舞臺。

Shōkyokusai Tenkatsu (1886–1944) was a female magician whose beauty, nice figure, and expertise had conquered audiences East and West during the first half of the 20th century. She had led Tenkatsu Vaudevillian Magic Troupe (Tenkatsu Ichiza), which she founded, to Taiwan 14 times, staying approximately a month each time. Though tickets were extremely expensive, the box office sale went well. With a diachronic perspective, this study examines documents ranging from newspapers, periodicals, and diaries to sort out Tenkatsu Troupe’s performance history and analyze its performing environments and audiences. In addition to retaining part of the traditional Japanese magic, Tenkatsu Troupe also integrated many elements from Western popular culture, such as jazz music and acrobatics, presenting an internationalized program. They also developed several magic dramas, with closely knitted magic sessions. They gave most of their performances in large or medium theatres, providing opportunities for members of many Japanese townsmen associations, companies and governmental offices to mingle and socialize. While special discount tickets were offered to students, only people with a decent income could afford to attend the show. With the growth of economy, the percentage of Taiwanese audience increased. The frequent visits of Tenkatsu Troupe demonstrate that Taiwan had become an important stop for their tour around East Asia. However, as the political situation in East Asia worsened, the first-generation Tenkatsu announced her retirement in 1934, giving her baton to the second-generation Tenkatsu. Eventually, Shōkyokusai Tenkatsu totally disappeared from the stage.