歌仔戲小旦服飾表演程式初探

京劇的「行頭」指的是演戲時所用道具、服裝的統稱，而歌仔戲則向無「行頭」一詞，服飾的統稱即為「戲服」、「戲衫」、「服裝」等，其同於其它劇種有表現人物的性格、身分地位、年齡、種族、職業、家境等之功能。服飾在舞台上得使演員表現人物之思想感情、刻畫人物的外在形象，同時，還可用於同樂隊合作的暗示，或做為同台演員的情感交流中的交代，調節演唱節奏等。演員根據劇情、所扮演人物的性格、年齡及身分，包括角色的行當，酌情運用服飾與身體所產生共構而得之各種動作、姿勢，組成表演程式，以準確地使用這一塑造人物形象的藝術手段。服飾表演程式原為演員之基本功，演員必須經過專業訓練，才能熟練掌握服飾表演程式的動作要領，方能達成表現人物各種思想情感目的。雖說戲曲基本功不論劇種皆有大致相通之基礎，但由於劇種風格及審美要求等因素所使，故造成劇種與劇種間則有若干的發展差異。筆者從事表演及教學工作多年，觀察目前對於專屬歌仔戲獨有之表演程式研究探討者寡，且亦尚無建立一套通用系統，故引發探究之興趣，即以自身所學小旦行當出發著手進行探討。歌仔戲基本小旦的服飾表演藝術，大致可粗分為傳統「孤領帔」及「古裝被」之「水袖」、宮廷服飾之「闊袖」、「烏撇仔衫」等，本文將試圖對小旦各種因服飾不同所發展出之各種表演程式進行整理與探討分析，透過與資深藝人訪談、示範操作記錄，結合自身多年學習體會，期理出些許歌仔戲小旦服飾程式動作之規律及發展等，進而挖掘歌仔戲自身獨有之程式動作規律及審美要求，提供未來關於歌仔戲獨有之表演藝術風格、基礎及進階身訓教學系統建立等之參考。

關鍵字

歌仔戲；表演程式；動作；小旦；戲曲服飾

並列摘要

XingTou in Beijing Opera refers to the costumes used and wore by the actors. This phrase is not used in Taiwanese Opera and the costumes are usually referred to as Xifu, Xishan, or Fuzhuang. The costumes in Taiwanese Opera has the same function as other forms of opera where it is used to denote the character's personality, status, age, race, job, and family. The costume is an external illustration of the character's thoughts and feelings on the stage. The costume can also be used as a hint to the music performers and the other actors as to how the performance should flow and change. The actors will employ different forms, styles, and body language depending on the character's costume to illustrate the character's personality, age and status. Therefore, costume performance is one of the basic fundamentals in playing a character. The actor need to be professionally trained to be able to master the styles and forms associated with different costumes in order to act out the character's personality. Even though the fundamentals are the same among the different forms of Chinese opera, there are still some slight developmental differences between the different forms for both style and aesthetic reasons. The author has been involved both the education and performance of opera for many years and has observed that there are very little study done on the unique performing style of Taiwanese opera. Therefore the author wished to begin the study on the female role that the author is proficient in. The costumes used in the female role for Taiwanese opera can be roughly categorized into three different categories. The author will discuss about the different performance style used with different costumes. Combined with interviews with senior performers and historical records, the author hopes to introduce a systematic study of the styles used with different costumes for female role and to establish a system based on the unique artistic style, foundation, and education of Taiwanese opera for future references.