蘭陽平原唱相褒歌的民間文化-以礁溪鄕、員山鄕、冬山鄕為田野

The folk culture of Taiwanese ballads sang in dialogue in Yilan Plain - the field work in Jiaosi Township ,Yuanshan Township and Dongshan Township

游冠軍(KUAN-CHUN YU)

指導教授 ： 林鋒雄

國立臺北大學/人文學院/民俗藝術研究所/碩士(2008年)

摘要

台灣民間盛行過一種歌謠活動，這種活動由兩人以上成員，各以臨場編造的詩詞，清唱給對方，對方則從詞意，再編出回應的詩詞唱過來。這樣你來我往，以一首接著一首臨場編造詩詞，互相唱酬的歌謠活動，在台灣許多地方被俗稱為「唱相褒」。
曾經盛行過歌仔戲的宜蘭地區，距今二十年前，鄉野間仍風行這種俗稱「唱相褒」的歌謠活動。本論文即針對宜蘭地區鄉野間唱相褒活動，進行田野訪談，探尋宜蘭民間唱相褒的歌謠文化，並且嘗試從此一歌謠文化，分析早期宜蘭地區盛行歌仔戲活動的原因、甚至發現歌仔戲藝術在民間孕育的源頭。
第一章敘明本論文是採用田野訪談為主要研究方法。訪談的對象有二類，一是生長於宜蘭現仍健在而在年輕時曾參與「唱相褒」活動的耆老們，二是年輕時曾親身目睹「唱相褒」活動、或能熟知風行過相褒歌地區歷史的耆老們。田野訪談的地區範圍包括礁溪鄕、員山鄕、冬山鄕。訪談的主要內容就是唱相褒活動如何在鄉野間展開的各種面貌。
第二章將相褒歌活動如何分別在茶園、甘蔗園、山區、山邊，各種農村工作中展開，各作詳細的描寫。第三章描寫耆老們年輕時參與唱相褒歌，所生活或工作的環境，並分析唱相褒活動所以能風行的環境因素。第四章將描寫早期宜蘭地區歌仔戲活動的文獻資料，與本論文第二到三章對宜蘭民間唱相褒活動的描寫，兩者相互對照，分析出歌仔戲與唱相褒兩者能風行於宜蘭，共同的環境與文化因素。
最後總結：歌仔戲與相褒歌都同在日治時期，因為茶葉、製糖、山林等等工作機會多，年輕人常常能外出工作，與外村年輕人有更多歌謠交流機會等等有利環境下，盛行起來。而唱相褒活動在鄉野間，比歌仔戲活動更不受限條件即能展開，造就了宜蘭民間許多人能以角色扮演的形式，即席編造歌詞，與人展開長篇的唱相褒活動。此一精湛的藝術素養，也可能是台灣早期的歌仔戲藝術能孕育的一項成因。

關鍵字

相褒歌 ； 本地歌仔戲 ； 宜蘭

並列摘要

There was a kind of folk ballad activity prevailed in Taiwan. This activity is composed of two people making up the lyric provisionally and singing to the member without any musical instruments. The other member compiles out the lyric and reacts to sing over again from the purpose of the word. In this way, people sing with each other by making up the lyric provisionally in order to rewarding each other. This folk custom is called “Taiwanese ballads sang in dialogue” in Taiwan .
Twenty years ago, this kind of ballad activity which was named as “Taiwanese ballads sang in dialogue” was still popular in the countryside of Yilan county where has prevailed Taiwan Opera before. This thesis is aimed at the “Taiwanese ballads sang in dialogue” activity in the countryside of Yilan county. According to carrying on field interview, exploring this culture in Yilan county to analyze the reason of Taiwan opera activity being prevailed in the early period in Yilan, even to find the source of Taiwan opera in the field.
In chapter 1, is to interpret this thesis adopted field interview for the main research approach . And the target of interview includes of two types：1, people who grow in Yilan and participate in the “Taiwanese ballads sang in dialogue” activity when being young still alive now.2, old people who witness “Taiwanese ballads sang in dialogue” activity when being young, or know the “Taiwanese ballads sang in dialogue” activity’s history. The regional range of field interview includes ：Jiaosi Township ,Yuanshan Township and Dongshan Township. The main content of interview is that how the “Taiwanese ballads sang in dialogue” activity being started in various kinds of appearances among these townships.
In chapter 2, is to make detailed description about how the “Taiwanese ballads sang in dialogue” activity being started around the tea fields, the sugarcane fields, mountain areas, mountainsides. In chapter 3,is to describe the members who participating in “Taiwanese ballads sang in dialogue” activity when being young, or the environment where they live and work .And to analyze environmental factors that the “Taiwanese ballads sang in dialogue” activity can be prevailed. In chapter 4, is to interpret the documents and materials of the early Taiwan opera activity in Yilan. And to contrast with chapter 2 to chapter 3, analyzing the common environments and culture factors between Taiwan opera and the “Taiwanese ballads sang in dialogue” activity can be prevailed in Yilan.
In conclusion, Taiwan opera and the “Taiwanese ballads sang in dialogue” activity were started during Japanese colonial rule. Because there are many such working opportunities such as tea making, sugar refining, mountain working ,etc., the young people can often go out to work and have more chances to exchange ballads with the young people in the other villages. Around this environment, the “Taiwanese ballads sang in dialogue” activity has started to prevailed. To compare with Taiwan opera activity, the “Taiwanese ballads sang in dialogue” activity is less limited in the country .It can bring up a lot of folk people in Yilan who use the form of the role-playing, making up the lyrics, and launching the “Taiwanese ballads sang in dialogue” activity with people. This consummate artistic accomplishment is also a origin cause of formatting early Taiwan opera art in Taiwan can be produced.

並列關鍵字

Taiwanese ballads sang in dialogue ； Yilan ； Taiwanese opera

參考文獻

曾永義。1988。《台灣歌仔戲的發展與變遷》台北市：聯經出版社。

黃雯娟。2004。《日治時代宜蘭三星地區的區域發展》台北：國立台灣師範大學地理學系第十二屆博士論文。

【地方誌/族譜/地圖】

《中山社區解說手冊》。徐文良、劉俊富、廖月蕙、陳美岱、鍾銘誠等編。宜蘭：冬山鄉中山社區發展協會。

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