臺南「草鞋公陣」探析

臺南市為臺灣極早開發的區域，廟會活動和藝陣種類都非常多，通常規模龐大、演出頻繁，是傳統藝術多元發展的城市。在廟會慶典活動中，各式各樣的藝陣穿插其間，當中小戲的表演，非常傳統而有特色，其中臺南市歸仁區檳榔園翰林院有非常特別的「草鞋公」藝陣，是臺灣唯一的《草鞋公》小戲表演藝術。從其廟宇之石刻沿革中，可以明確知道檳榔園翰林院主祀田都元帥，最早隨移民由中國大陸福建省興化縣駐駕到高雄市阿蓮區青旗甲里，之後於大清朝同治皇帝九年（1870）由蔡功迎來臺南新厝里的檳榔園。該藝陣表演藝術具有濃郁的故事性，從情節觀之，具有戲曲中小戲的特質，本文以訪談資料為基礎，加以文獻資料佐證進行研究。首先考證臺南市歸仁區檳榔園翰林院歷史源流；其次探析《草鞋公》本事情節，可從清代《清風亭》上推至明代《合釵記》，具有悠久歷史脈絡；其三論述《草鞋公》主角身分選定與表演意象；其四從該團音樂內容分析，說明其是潮州音樂的遺響；其五從其表演現況了解，其表演身段具有梨園戲懸絲傀儡的身段象徵形象。因此，就臺灣地方小戲而言極具研究價值，期望本研究內容能提供相關研究者參考。

關鍵字

草鞋公陣；藝陣；小戲

並列摘要

Tainan is among the first areas that were developed in Taiwan, and there are a great number of temple affairs and artistic formations（yi-zhen, 藝陣）, on large scale and of frequent performances, making Tainan a city of various traditional arts. Among the diverse and many artistic formations at temple affairs and activities, xiao-xi（plays on a modest scale, 小戲） keeps traditional flavors. The Cao-xie-gong zhen（草鞋公陣） from Hanlin Yuan, Binlang Yuan, Gueiren District, Tainan is Taiwan's only Cao-xie-gong（《草鞋公》）, a performing art of xiao-xi. According to the history engraved on the stele inside the temple, the main god worshiped here in Hanlin Yuan, Tiandou Yuanshuai（田都元帥）, came with early immigrants from Xing-hua County of China's Fujian Province. Then the statue stayed in Qingqijia Village, Alian District, Kaohsiung City. Eventually it was transported by Gong Tsai to Binlang Yuan, Xin-cu Village, Tainan in 1870. The artistic formation Cao-xie-gong zhen is highly narrative. Its plot shares the elements of other xiao-xi forms in traditional xi-qu（traditional opera, 戲曲）. This article is based on interviews and is supported by research materials. The first section surveys the history of Hanlin Yuan, Binlang Yuan, Gueiren District, Tainan. Then the author analyzes the content and plot of Cao-xie-gong, which could be traced back to Qing-feng-ting（《清風亭》） in the Qing Dynasty and even to He-chai-ji（《合釵記》） in the Ming Dynasty, illustrating the long history and genealogy of the play. Thirdly, the image and character setting in Cao-xie-gong will be discussed. Fourthly, the music content will also be analyzed, which shows strong influence by the music style from Chao-zhou. Fifthly, the performing postures are compared to the highly symbolic postures of the string puppetry in Li-yuan-xi（梨園戲）. To conclude, Cao-xie-gong as a Taiwanese local xiao-xi is much worth researching, and hopefully this paper could be of use for researchers in related fields.