論民族藝師張德成新編皮影戲

A Study of the National Artist Chang Ten- Cheng′s New Edition of the Shadow Play

張能傑(Neng-Chieh Chang)

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

本文以探討東華皮戲團和張德成新編皮影戲劇本為主，東華皮戲團是為家族代代相承的皮戲團，自第一代演師張狀和第二代演師張旺創立「德興班」 以來，歷經第三代張川、第四代張叫與第五代的張德成的經營與發揚、改革，成為臺灣享譽盛名的皮戲團。東華皮戲團的特質在於不單守傳統給予的框架，而是從傳統的本質出發，創造新的
風格，以合乎當代觀眾的藝術欣賞取向。每代的演師有每代的寫作劇本的特色與風格，而這些特色與風格，皆為經驗的累積，並成為下一代演師創造新風格皮戲的藍本。
榮獲國家民族藝師的張德成先生，他是將臺灣皮戲推向國際舞台的第一人。他突破傳統皮戲的架構，豐富了臺灣皮戲的生命，與父親張叫成功的將皮戲帶入商業劇場中。
張德成先生的劇本寫作融合了祖父、父親的劇本方式，而自己則創造自己劇本的寫作新形式。在情節取材上，從內、外臺戲的演出當中，汲取演出的經驗創新劇本內容情節。
文中先由張德成藝師的家族談起，說明張德成藝師祖先的來台過程；由家族的來臺過程，帶入歷代皮戲的傳承。簡述說明歷代東華皮戲演師的創作風格，並敘述張德成學習皮戲的過程，將其劃分為四個時期，依序探討。
早期臺灣地方戲曲，多半不太受政府的重視，任其自由發展。在衝州撞府、鄉林農村之間的演出，為劇團生存下去唯一的市場；能夠繼續演出不被市場觀眾淘汰，除了技
藝以外，劇本的取捨，影偶的創新、演出的改進，是讓一個劇團能否開拓新戲路，不被
時代淘汰的重要關鍵。
文中討論張德成演出內、外臺戲的部份，分析張德成從內、外臺戲的演出經驗中，汲取經驗與觀察觀眾的取向，從而新編出八本劇本的動機，由八本新編劇本的內容，將新編劇本分成三個部份；第一部份為「劇情內容分析」，敘述劇本的內容安排，說明每
一場次劇中人物所遭受到的苦難和過程；第二部份為「人物編寫」，討論劇中人物的性格；第三部份為「曲調安插」，曲調在皮戲的表演中，是不容或缺的部份，從劇本中探討新編劇本，於每一場次中所編排的曲調。
最後；總結張德成的新編劇本，說明新編創新與自我特殊風格的展現，與張德成新編劇本承襲傳統與自己創新的部份。

關鍵字：皮戲（皮影戲）、東華皮戲團、張德成、教育部重要民族藝術藝師

關鍵字

皮戲（皮影戲） ； 東華皮戲團 ； 張德成 ； 教育部重要民族藝術藝師

並列摘要

This research is mainly to study on the Tung-Hua Shadow Puppet Theater and Chang Ten-Cheng, who compiled the script of the shadow show anew. The Tung-Hua Shadow Puppet Theater is the family puppet troupe that passes on from generation to generation. Since the founder, Chang Chuang, and the second generation, Chang Wang founded “the De Shing Ban,” the third generation, Chang Chuan, the fourth generation, Chang Chiao, and the fifth generation, Chang Ten-Cheng, have undergone experience of management, enhancement, and innovation. Finally, the Tung-Hua Shadow Puppet Theater had achieved a tremendous fame in Taiwan, and their performance becomes more attractive. The characteristics of the performing group are maintaining the essence of tradition and creating the latest style. The puppeteer of each generation has their features and styles on writing scripts, and the innovative style becomes a good model for the every next generation.
Chang Ten-Cheng has the honor to get the National Folk Master, and he is also the stimulator popularizing the Taiwan Shadow Show to the International stage. He breaks the traditional constraints of the Shadow Show and enriches its life. Chang Ten-Cheng and his father, Chang Chiao, are successfully promoting the Shadow Show into the commercial market. Chang Ten-Cheng also integrates his writing style and the style of his father and grandfather, and then creates a new style of his own. On obtaining materials for the plot, no matter in or out of the performance, it all assimilates the experiences to innovate the brand new plot.
The basic of this thesis is on the family of Chang Ten-Cheng, explaining the process of Chang Ten- Cheng′s ancestors how to arrive Taiwan. Owing to the process, it brings the generational inheritance of the Shadow Show. The arrangement of this thesis is about the creative writing of every generation, and narrating Chang Ten- Cheng′s learning process of the Shadow Show that can be divide into Four periods.
In the early period of Taiwan, the government did not pay much attention to the local drama, and let them develop randomly. The only way for the troupe to exist is to perform between the country and rural village. They have to open up new skills, scripts, figures and performance styles, or they will be eliminated by the audience. It′s the key point for them to live. Analyzing the experiences of Chang Ten- Cheng′s performance, and how did his motivation compose these new eight scripts. The new scripts can be divided into three parts to analyze as follow. The First part is the plot, narrating how to arrange the details of the script. The Second part is the analysis of the plot, describing the experience of every character. The Third part is portrayal, analyzing the characteristics of every figure. The last part is the songs, which are the essential part of the Shadow Show.
Chang Ten-Cheng creates his own writing style of script and shows his personal features, which not merely follow the tradition, but also innovate the new things.

Key words: the Shadow Show, the Tung-Hua Shadow Puppet Theater, Chang Ten-Cheng, important folk art master

並列關鍵字

the Shadow Show the Tung-Hua Shadow Puppet Theater ； Chang Ten-Cheng ； important folk art maste

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