臺灣歌仔戲「做活戲」後場樂師的人才養成與即興伴奏技巧

Training Off-stage Musicians and Spontaneous Accompaniment Skills in Improvisational Performance in Taiwanese Ge-zi-xi Opera

林鶴宜(Ho-Yi Lin)

《戲劇學刊》 21期 (2015/01) Pp. 161-194

摘要

臺灣歌仔戲堪稱當今最具代表性的戲曲幕表戲。從內臺商業戲院到外臺廟會劇場，一直以來，臺灣職業歌仔戲主要都採取「做活戲」（幕表戲）的方式運作其表演，不曾間斷。近幾年筆者以「臺灣歌仔戲即興戲劇」為題，陸續進行了歷史回顧、藝術定位、整體運作機制、劇目編創、演員表演創造，以及劇目內涵與傳播等系列研究。本文延續此一研究主題，從「即興演出合作」的角度來談歌仔戲後場樂師的伴奏。首先探討歌仔戲「做活戲」後場樂師的養成。從基礎訓練到即興伴奏技巧的訓練，養成環境和訓練方式的差異，造成職業戲班訓練出身和學校教育出身的樂師，在專長技巧和伴奏概念上，都大相逕庭。接著，說明後場樂師即興伴奏的運作機制，包括後場樂師在即興表演中的位置與作用，以及樂師與樂師、樂師和演員的合作方式。最後，分析後場樂師的即興伴奏技巧，包括：唱腔音樂的即興伴奏、器樂曲牌（歌曲）和鑼鼓的即興伴奏，以及臨場反應等。試圖勾勒出「做活戲」這樣的特殊戲劇運作方式所訓練出的樂師之特殊性和重要性。

關鍵字

歌仔戲 ； 幕表戲 ； 做活戲 ； 後場 ； 即興

並列摘要

Taiwanese ge-zi-xi Opera is the most representative dramatic form of ＂mu-biao-xi＂ (scenario-based performances). From commercialized indoor theatre performances to outdoor performances at temple festivals, professional ge-zi-xi troupes have always adopted the form of ＂improvisational performance＂ (mu-biao-xi). In recent years, I have researched on the subject of the improvisational performance of Taiwanese ge-zi-xi Opera, including its history, artistic position, overall operational mechanism, the writing and creating of scripts, acting skills of actors, and contents and dissemination. This paper is part of a series of studies, focusing on the accompaniment of off-stage musicians in ge-zi-xi opera from the perspective of ＂coordinated improvisational performance.＂ First, the paper explores the training of off-stage musicians for improvisational performance of ge-zi-xi opera. From basic training to skill-training for improvisational accompaniment, musicians who are trained in professional troupes and who are trained in schools form two distinctive groups as they have their respective specialized skills and accompaniment concepts due to their different environments and training methods. The paper then explains the operational mechanism of improvisational accompaniment by off-stage musicians, including the musicians' positions and functions in improvisational performance and the coordination of the musicians among themselves as well as with actors. Finally, the off-stage musicians' improvisational accompaniment skills, including improvisational accompaniment for vocals, improvisational accompaniment for sets of lyrics structured within specific melodic frameworks (songs), and spontaneous reaction, will be analyzed to present the uniqueness and the importance of musicians trained in the special dramatic operation of ＂improvisational performance.＂

並列關鍵字

Taiwanese ge-zi-xi Opera ； mu-biao-xi(scenario-based performances) ； improvisational performance ； off-stage musician ； improvisation

參考文獻

林鶴宜(2008)。「做活戲」的幕後推手：臺灣歌仔戲知名講戲人及其專長。戲劇研究。創刊號，221-251。

林鶴宜(2011)。東方即興劇場：歌仔戲「做活戲」的演員即興表演機制和養成訓練。戲劇學刊。13，65-101。

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林鶴宜(2012)。臺灣歌仔戲「做活戲」的演員即興表演與劇目創作參與。民俗曲藝。175，107-175。

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