- 期刊
曹復永小生表演特色之探析──以《雅觀樓》李存孝腳色為例
The Analysis on the Features of Fu-Yung Tsao's Jing-Ju Performances:"Ya-Guang Hall" from his master Jing Dayuan and the way he interprets the main character Lee Cunxiao
摘要
曹復永原名曹永生，是臺灣「復興劇校」（現今為國立臺灣戲曲學院）培養第一期著名京劇小生，亦擔任過歌仔戲、客家戲導演，曾擔任國立臺灣戲曲學院附設京劇團長暨京劇學系教授，現為京劇與客家戲學系兼任教授。他以扎實的傳統功底，見證臺灣梨園歷史的變遷，並且在變遷之下，進而從觀眾（接收端）的面向，因應時代需求進行的調整，不僅如此，傳承教學上盡心盡力，功不可沒。本研究是從京劇表演的功法為切入點，試圖從中分析曹復永在其恩師金大源教導之下，於克難的環境，進而習得《雅觀樓》的過程，再透過其自身長期訓練及舞臺歷練，探討舞臺上詮釋李存孝一腳的歷程，及其表演藝術。本文論述的核心聚焦在曹復永表演風格的獨特性，以《雅觀樓》中李存孝的腳色為例證，分析曹復永小生表演的詮釋方法、表演功法之應用等。主要分為三個面向進行討論：其一、論述曹復永《雅觀樓》之學習歷程，透過曹復永與金大源老師的淵源，從中探析他學習《雅觀樓》之路程，轉而發現李存孝表演的獨特性；其二、從歷史層面探析《雅觀樓》由古至今的價值性，因其故事內含之豐富性，在現今的社會環境下，實有必要保存的傳統老戲之一。曹復永對於李存孝腳色之理解而深化，進而分析其表演藝術之體悟與特殊詮釋手法；三、探討曹復永詮釋李存孝腳色之唱、唸、做、打，是如何在金大源老師的教導下，加以自身的體悟，而創造出屬於個人特色的表演，並傳承於後輩學子。透過以上的分析與論述，期望能歸納出京劇小生表演藝術的理論與方法，並且此資料能作為當代京劇小生及後輩學子學習之參考資料。
並列摘要
Tsao Fuyong is one of the most successful Beijing Opera xiaosheng (小生) who is the first generation to inherit the traditional Beijing Opera performing techniques in Taiwan. Tsao not only acts but also directs Beijing Opera, Taiwanese Opera and Hakka Opera performances. He is also a professor training new generation Beijing Opera student in National Taiwan Performing Arts College. His efforts and dedication in teaching should be accoladed with more commencement. This research will discuss how Tsao Fuyong learned "Ya-Guang Hall" from his master Jing Dayuan and the way he interprets the main character Lee Cunxiao. There will be three phases in this research, which include the learning process of Tsao Fuyong and his relationship with his master; examine the historic value of "Ya-Guang Hall" and whether this story is worth preserving nowadays; and how Tsao interpret Lee Cunxiao with the training received from his master and how he develops his unique way of performing through hardship self-training thus he uses it to teach his students. In conclusion, this research aims to keep the legacy of Tsao Fuyong and at the same time assist future studies on Beijing Opera.