臺灣儀式戲劇及演出程式研究－以北管戲曲扮仙戲為例

Taiwanese ceremonial drama and the study of its performing procedures

張連強(CHANG LIEN-CHIANG)

指導教授 ： 李國俊

國立中央大學/文學院/中國文學系/博士(2014年)

摘要

中文摘要

本論文主要議題是臺灣儀式戲劇之表演，以臺灣北管扮仙戲為研究範圍，配合實地田野調查，透過藝師、劇團負責人、資深藝人的訪談，搜集之抄本、劇本、影像、錄音檔資料及對所有相關文獻進行彙整，分別討論儀式的定義、臺灣儀式戲劇的溯源、實際的演出歷程分析，並探究了臺灣扮仙戲儀式的程式化運用，另外也介紹扮仙戲中神仙戲的角色。期能更深入整理臺灣儀式戲劇的內涵意義。
臺灣扮仙戲在搬演時強調是其特殊儀式性，特別在搬演步驟上有其一貫規則，本論文將其歸納為扮仙戲的神仙戲部份所運用的四個儀式程式：1.良辰吉日、邀集眾仙；2.諸神現身、降臨福地；3.群仙獻寶、慶賀賜福；4.賜福完畢、各歸天曹。另外，扮仙戲的人間戲部份亦有四個運用的儀式程式：分別為1.標榜：建勳立業；2.誇耀：君王表揚；3.賞賜：賞官賜祿；4.謝恩：敬天謝恩。經歸納分析，所有扮仙戲的神仙戲、人間戲，皆沒有跳脫此儀式進行的程式，可以說整個扮仙戲的演出皆依儀式性程式來進行搬演。
臺灣扮仙戲儀式進行的主要目的是為了祈福慶賀，過程都是以儀式為重要內涵，再配合上演出。從表面看來，扮仙戲的演出其文學性、思想性也相對有限。但是，民俗祭祀活動中，這樣在社會各階層有廣泛影響的劇目，其為人們所喜聞樂見、久演不衰的文化現象本身，足以說明其學術、文化和儀式戲劇本體之價值。

關鍵字

儀式戲劇 ； 北管 ； 扮仙戲 ； 天官賜福 ； 醉八仙

並列摘要

Taiwanese ceremonial drama and the study of its performing procedures
－ take Beiguan Music's Immortals-playing Drama as an example

Abstract
The main subject of the thesis focuses on the performance of Taiwanese ceremonial drama, and the range of the research takes Taiwanese Beiguan Music's Immortals-Playing Drama as an example. The thesis coordinates the field study by three major parts. Firstly, interviewing the artists, the owners of the opera troupes and the experienced artists. Secondly, gathering the collection of the manuscripts, the scripts of dramas, the images and the recorded data. Thirdly, summarizing all the related documents. The thesis respectively discusses the definition of the ceremony, the origin of Taiwanese ceremonial drama and the analysis of the actual performing procedure. Furthermore, it explores the programmed application of Taiwanese Immortals-Playing Drama ceremony. Besides, it introduces the images of the roles in Immortals’ Drama of Immortals-Playing Drama. The thesis also expects to further organize the nonnative meaning of Taiwanese ceremonial drama profoundly.
When Taiwanese Immortals-Playing Drama is performed, it emphasizes its special ceremonial properties. Especially, there are consistent rules among its performing procedures. The thesis sums up the applied parts in four ceremonial procedures for Immortals-Playing Drama and Immortals’ Drama as follows：1. Auspicious occasion and inviting all immortals. 2. All immortals’ presenting and arriving the land of happiness. 3. All immortals’ presenting treasures, making celebrations and giving blessings. 4. The end of giving blessings and returning to the heaven respectively. In addition, the Human-World Drama of Immortals-Playing Drama includes four applied ceremonial procedures as follows：1. Flaunting：making achievements and merits 2. Complimenting：lords’ praise 3. Granting rewards：granting officials and wealth 4. Being thankful for kindness：respecting and thanking for immortals’ gratitude. By summarizing and analyzing all the collected data, both the Immortals’ Drama and the Human-world Drama of Immortals-playing Drama are on the track of the above-mentioned proceeding procedure. It can say that all the presenting parts of Immortals-Playing Drama are performed according to the ceremonial procedure.
The main goal of Taiwanese Immortals-Playing Drama is to pray for good fortune and to make celebrations. The major connotation of its process puts emphasis on the ceremonies and then is performed on the stage suitably. Judging from the surface, it seems that the performance of Immortals-Playing Drama has limitation on its literariness and ideology relatively, nevertheless Immortals-Playing Drama makes widespread influences on all the walks of life and is performed in folk sacrificial ceremonies. The drama is delighted to be heard and seen by the masses and is ever-lasting performed. Therefore, the cultural phenomenon of Immortals-Playing Drama is enough to illustrate the value of its academic and culture and the value of the major parts of the ceremonial drama.

Key words：ceremonial drama, Beiguan Music, Immortals-Playing Drama, Tien-Guan-Sih-fu, the Eight Immortals (in the legend)

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