流行歌曲在臺灣歌仔戲中形成的套路與影響

1930年代在臺語流行歌發展的初期，流行歌的歌詞習慣用七言四句的形式，以及「分節歌」的結構，簡明的形式和樸素的曲風建立了流行歌曲和歌仔戲之間互相流通的管道。戰後錄音技術進步、創作及演唱人才輩出，臺灣流行歌曲蓬勃發展，不僅是歌詞包含了各種主題，曲調風格更是多樣，有本土音樂家的創作，也有改編自東洋、西洋的曲調，這些豐富的內容對於歌仔戲班而言像是一個取之不盡的寶藏。現存「拱樂社」內臺歌仔戲劇本中已經出現許多標明要唱流行歌曲的地方，有些編劇還會特別指定歌曲名稱，並運用流行曲風來創造一種現代感的戲劇情境。同時期的內臺歌仔戲盛行搬演以社會寫實事件為題材的「新劇」，劇中更是大量演唱流行歌曲，希望表現出一種現代感以貼近大眾的審美趣味。臺灣民間職業劇團使用流行歌曲不僅是一個生存現象，也深深地影響了歌仔戲的發展。在「活戲」傳播的過程中，結合流行歌的「表演套路」廣為流行，流行歌的歌詞成了演員的「程式語言」；另一方面，流行歌的曲風影響了歌仔戲新音樂的創作，在當代劇場中發展出了「流行歌曲風」的創作新調，讓歌仔戲音樂更具有表現能力，有助於拓展現代的題材和新穎的戲劇風格。本文嘗試討論流行歌在歌仔戲中幾種不同的應用方式，同時分析歌仔戲採用流行歌之後的影響，包括表演套路的形成與模仿、詞格曲風的改變，以及一種文化記憶的傳承等等。從戲曲音樂形成的角度而言，吸收民歌、時曲是非常自然的；當下流行歌曲和歌仔戲都持續不斷地在發展，基於過去的交流已經有豐富的經驗，當代歌仔戲創作人員可以嘗試創造雙方繼續融合的可能性。

關鍵字

歌仔戲；流行歌曲；胡撇仔戲；互文性；大眾文化

並列摘要

In the 1930s, it was common to apply a form consisting of four phrases with seven Chinese characters each in length and a ＂couplet＂ structure to Taiwanese pop song lyrics. This simple format established an exchange channel between popular music and Taiwanese opera. In postwar Taiwan, popular music developed considerably, including original creations by local musicians and adaptations of Oriental or Western tunes. Popular music thus became an inexhaustible treasure for Taiwanese opera troupes to mine. In the existing Gong-Le-She's indoor Taiwanese opera, there are many indications of popular music. At that time, pop songs were employed to a large extent in the ＂new drama＂ with themes inspired by real social events. The use of popular music presented a sense of modernity and approximated the aesthetics of the mass. In the distribution process of ＂improvised performance,＂ the ＂formulated acting techniques＂ combined with pop songs became fashionable. Pop song lyrics turned into actors' ＂formulaic diction.＂ Meanwhile, mainstream popular music had an impact on new music production in contemporary Taiwanese opera. Taiwanese opera music has since become more expressive, contributing to the expansion of modern themes and innovative theatrical styles. This article intends to discuss several applications of popular music to Taiwanese opera and evaluate the influence of popular music on Taiwanese opera's further development. This includes the generation and imitation of the formulated acting techniques, the transformation of lyrical structures and musical expressions, as well as an inheritance of cultural memories. Based on abundant experiences in terms of exchange, creators of Taiwanese opera nowadays could seek possibilities of continuous integration with popular music.