從實效與娛樂的劇場交流中獲得轉變－以扮仙戲《醉八仙》為例

To be changed from theater exchange of effectiveness and entertainment-for example Taiwan Religious Festival Theatre ＂Drunken Masters＂

紀家琳(Chi, Chia-Lin)

《藝術學報》 99期 (2016/10) Pp. 193-207

摘要

臺灣喜慶酬神演出中，扮仙戲咸認為是酬神演出的重要目的。扮仙戲的《醉八仙》演出雖短，因扮演的人數較多，是較為隆重的演出，且與常人戲劇性生活貼近，故成為全灣廟宇酬神戲常見的儀式／戲劇過程。本文通過人類表演學理論，藉由《醉八仙》中一段簡短對觀眾中介物贈送與接觸的表演，亦即儀式性演員從中介神明與人世的媒介，打破劇場分界後，使全場觀眾成為儀式的參與者與戲劇的共樂者。將實效及娛樂融合為一，重譯其原有理論所論述的二元對立性。應用本理論，探討觀眾透過中介物的轉換／轉移轉變後，運用於兒童劇場演出實務面上的情形與實際現狀。

關鍵字

扮仙戲 ； 中介物 ； 轉換 ； 轉移 ； 兒童劇場

並列摘要

Gods reward festive performances in Taiwan, Taiwan Religious Festival Theatre has been considered an important object of the gods reward performance. ＂Drunken Masters＂ show is short, because the number of plays more, is more important performances, and with ordinary people living close to the dramatic, it has become common drama in Taiwan temple thanksgiving ritual/theatre process. In this paper, through the Performance Studies theory, by ＂Drunken Masters＂ in a brief show for the audience was presented and contacted with the intermediary That is, the ritual actors from the gods and the human world of media intermediaries, after breaking the boundaries of theater, so that the whole audience become participants in the ritual and drama co-musicians. The effectiveness and entertainment merge into one, retranslating the original theory they discussed duality. Application of this theory to explore the audience transported/transformed after transformation of the intermediary, and performance practices used in the case of children's theater and the actual status quo.

並列關鍵字

Taiwan Religious Festival Theatre ； intermediary ； Transported ； Transformed ； Children's Theatre

參考文獻

https://book.douban.com/subject/4878714/