北管新路戲曲《天水關》之詮釋分析─以吳雅婷畢業音樂會為例

北管劇目可分為全本戲與折子戲，全本戲又稱大本戲，專指有完整故事內容的戲齣，北管新路戲曲《天水關》即屬全本戲。此戲音樂包括了新路【二黃】、【西皮】等各類常見唱腔，是北管人所謂新路的「破筆」戲齣，意指它是學習北管新路戲曲的入門款，但這裡的入門，並不代表它最簡單，而是透過學習本齣戲，便能對北管新路戲曲有基本認識，舉凡對鑼鼓、唱腔等運用，都能有一定的基本能力。在個人畢業音樂會中，筆者將此一全本戲以排場方式呈現，並以北管音樂為主軸下，加入布袋戲與說書人等劇場元素，補強音樂會中的視覺效果。本文共分成三章，分別針對文本、後場音樂詮釋及音樂會製作歷程逐一說明，並以筆者所學的宜蘭莊進才藝師之版本，及新竹「竹塹北管藝術團」版本為主，對照比較其內容之異同。

關鍵字

北管、新路戲曲、天水關、莊進才、竹塹北管藝術團

並列摘要

Beiguan plays can be categorized into full-version plays and Zhe -zǐ plays(折子戲). Full-version plays are also called Da- běn plays(大本戲), mainly indicating the plays with complete story content. Beiguan new style play “Tian Shui Guan”(天水關) is an example of full-version plays. Common singing accent such as the new style Erhuang (二黃) and Xī pi(西皮) are included. Tian Shui Guan is the so-called “Po Bi” of the new style plays, meaning that it is the “first” drama for Beiguan new style plays. It is named this way is not because it is easy to perform but people can get a basic idea for Beiguan new style plays through acting it, that is, the players will be equipped with some fundamental abilities as to the use of Beiguan percussion and singing accents. In my personal graduation concert, I will present this full-version play in the way of Pai-chang. I will put the elements of Glove Puppetry and Storyteller at the base of Bejguan music to enhance the visual effect of the concert. In the three chapters of this essay, I will explain the text, Bejguan music and the procedure of the concert preparation step by step. I will then compare and contrast the similarities and the differences of the play version of Ilan Chuang Chin-Tsai I have learned and the one of Hsincha Beiguan Art Troupe.