傳統戲曲花旦造型差異化之探究

戲曲隨著歷史的演進傳承使藝術與文化結合，並以創新及意識形態產生了不同以往的風貌。本研究以京劇與歌仔戲中花旦之裝扮造型為研究方向，並藉此了解其差異化；京劇藝術文化規範之嚴謹，從京劇旦角之造型中窺探出，獨特元素及意象符號的呈現，使京劇從古至今保留固有的傳統藝術文化，而旦角內斂的造型裝扮亦呈現了歷代中國婦女的優雅與古典美。歌仔戲曾承襲過京劇各項藝術技巧，然而隨著潮流變動與現代取材自由發揮，從野台戲、電視歌仔戲崛起到精緻歌仔戲，其中花旦造型從古裝劇之造型，轉換為絢麗擴張造型裝扮，更接近現實生活型態且呈現出特有的文化風格。其兩者之差異化在於旦角無論是髮型、服裝與彩妝、配飾，皆可觀測出京劇旦角的內斂及優雅，與歌仔戲的誇張華麗之裝扮有其迥然不同的差異化。

關鍵字

京劇；歌仔戲；花旦；裝扮造型

並列摘要

With the historical evolution, the Chinese operas have contributed to a combination between arts and culture and transformed into a new type of performances due to creativity and ideology. This study focuses on the make-up and costume of female leads in both the Beijing opera and Taiwanese folk opera, in order to examine their differences. The strict cultural standards imposed on the Beijing opera can be inferred from the costume for female leads (Dan). The intrinsic traditional artistic essence of the Beijing opera has been successfully preserved in the presence of unique components and image symbols. Moreover, the staid costume for female leads (Dan) demonstrates elegance and classic beauty of traditional Chinese females. On the other hand, the Taiwanese folk opera followed artistic techniques of the Beijing opera, with the current trend and a wide variety of materials on hand. It has been transformed from a performance held in front of temples, a drama showed on television, to a kind of refined traditional performances. In particular, compared with the classic costume, the current costume of female leads (Huadan) is more brilliant and gorgeous, which is closer to real life and presents unique cultural features. Inferred from hair style, costume, make-up techniques, and accessories, one can easily realize significant differences between the Beijing opera and the Taiwanese folk opera: staidness and elegance of female leads in the Beijing opera, and exaggeration and splendour of the counterparts in the Taiwanese folk opera.