從正明龍歌劇團的多元場域發展再探歌仔戲的生存與未來

Re-evaluating the Future of Taiwanese Opera through the Study of Cheng Ming Long Opera Company's Diverse Developments

吳昭瑢(Chao-Jung Wu)

《臺灣音樂研究》 20期 (2015/04) Pp. 65-89

摘要

時代變遷，歌仔戲已從早期的落地掃發展到精緻歌仔戲，表演場域也從外台、內台、視聽媒體，登上今日的文化中心、音樂廳和劇院。隨著文化政策改變與社會經濟結構轉型，歌仔戲團呈現兩極化的發展：演出形式和內涵不斷翻新的大型精緻歌仔戲團與保留廟口外台演出形式的地方傳統小劇團。前者往往擁有明星級演員與完備製作群，並有充沛資金與觀眾群支持，後者卻因時代變遷而觀眾流失、老化，面臨衰亡的窘境。正明龍歌劇團以嘉義縣的地方傳統小劇團起家，由第二代接手管理後，在傳統與創新的老議題上提出了獨特的發展對策。正明龍一面持續維護傳統廟口歌仔戲與廣播歌仔戲的原貌，另一面脫下傳統的框架，因應所有不同年齡層和社會文化的需求，發展出「客製化歌仔戲」，將表演分級創作，給予不同的音樂設計、編腔與表演模式。旗下的分級製作包括廟口歌仔戲、兒童歌仔戲、創新歌仔戲舞台劇、以及現代劇場歌仔戲，為傳統歌仔戲創造多元化的表演場域。本文以社會學家Bourdieu的場域理論為研究視角，並借鑑Appadurai的全球化經濟的景觀研究與Shelemay的聲音景觀研究理論，對正明龍歌劇團的多元場域展演進行解讀，探索傳統歌仔戲如何在表演場域變遷的維度中傳播與演變，重新審視傳統歌仔戲在現代社會中的生存空間與未來展望。

關鍵字

正明龍歌劇團 ； 客製化歌仔戲 ； 場域理論 ； 景觀研究 ； 聲音景觀研究

並列摘要

With time ＂gezaixi＂ (Taiwanese opera) has developed from its early casual form, ＂luodisao＂ (＂coming down to the ground and sweeping＂) to the elaborate style of performance named ＂Jingzhi gezaixi＂ (fine Taiwanese opera). The contexts of its performance have ranged from streets, theatres, audiovisual media and cultural centers to concert halls. With changes in economic structure and cultural policy, Taiwanese opera troupes present various developments. While large, elaborate Taiwanese opera troupes constantly change their performance style and content, small, simple troupes keep traditional forms of outdoor performance in front of temples. The former tend to have famous performers with complete production bases and sufficient financial and audience support, while the latter face problems of decline and the loss of audiences. Cheng Ming Long Opera Company, a Taiwanese Opera troupe established in Chiayi County, began as a small troupe. After the second generation took over the business, the troupe came up with a unique solution for dealing with the issue of tradition versus innovation. On the one hand, Cheng Ming Long continues to maintain the traditional forms of performance. On the other hand, they have readapted the traditional frameworks, developing “customized opera,” in response to the needs of different age groups and social-cultural demands. Their creations are individually designed and classified according to different audience needs, and showcase various musical designs, singing styles and performance modes. Their opera productions utilize temple settings, involve children, and include innovative stage play and modern theater. They have thus attempted to create a diverse field for traditional opera performances. In this paper, I interpret Cheng Ming Long Opera Company's performances using sociologist Bourdieu's ＂field＂ theory, Appadurai's ＂landscape＂ theory of globalized economy, as well as Shelemay's ＂soundscape＂ theory. Finally, through exploring how traditional Taiwanese opera has changed and spread with the evolution of performance fields, I re-examine the livelihood and future of traditional Taiwanese opera in modern society.

並列關鍵字

Cheng Ming Long Taiwanese Opera Company ； customized opera ； field theory ； landscape ； soundscape