《昭君出閣－傳音劇場》創作理念

The Creation of Wang Chaojun of Our Time, a Music Theater for Traditional Instruments

蔡淩蕙(Ling-Huei Tsai)

《關渡音樂學刊》 16期 (2012/07) Pp. 149-166

https://doi.org/10.29873/GMJ.201207.0007

摘要

《昭君出閣－傳音劇場》完成於2010年12月，為結合南管、北管、古琴、五絃琵琶、崑曲之《昭君和番》相關曲目或劇目，以創作的絲竹樂，加上日本箏Koto與印尼峇里島樂器Gender合奏樂曲，作為素材融合之製作。演奏時亦表演梨園戲身段，以強化音樂概念。此外，本製作定位為當前台灣「新移民」之背景，試圖扭轉傳統文本漢人視角的哀怨基調。本論述涵蓋創作理念（含音樂劇場構想、劇本內容、音樂結構與肢體動作設計、編制選定與傳統樂曲引用方式）、跨樂種融合之困境，兼論及投影設計內容與樂曲風格間之調適與妥協。

關鍵字

昭君出閣 ； 音樂劇場 ； 傳統音樂 ； 梨園戲

並列摘要

Wang Chaojun of Our Time, a Music Theater for Traditional Instruments was completed in December, 2010, which combined Nanguan, Beigian, Gu-chin, Five-String Pipa and Kunqu's traditional repertoire of Wang Chaojun, fused with Chinese ensemble, Japanese Koto and Indonesian Gender. Every musician must also perform the body movements from Liyuanxi Opera to enforce the musical idea in this Music Theater, which re-interprets Wang Chaojun as new immigrants to Taiwan, providing another perspective from traditional literature of Han people. In this essay the author explains her ideas of composition (including concepts of Music Theater, script, music structure and design of body movements, instrumentation and principles of quotation), difficulties of cross-genre fusion, and some compromise between design of stage visual contents and music styles.

並列關鍵字

Wang Chaojun of Our Time ； Music Theater ； traditional music ； Liyuanxi

參考文獻

潘汝端(2008)。北管細曲《昭君和番》聯套之文本與音樂結構初探。關渡音樂學刊。9

林美清(2009)。獨留青塚向黃昏─「昭君」在杜甫詩中的位格意象。長庚人文社會學報。2(2)

班固，《漢書．元帝本紀》、《漢書．匈奴傳》。

范曄，《後漢書：南匈奴傳》。

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