彰員鹿軒團北管白字戲錄音《賣蕃薯》

「白字戲」一般定義為使用方言演出的戲劇，並不限其方言種類，也非指特定劇種。然而，從日治以來的調查研究顯示，白字戲多與唱念均用閩南語的梨園戲、九甲戲、七子戲等南管音樂系統的戲曲有直接關聯，但從日治時期的文獻中可知，使用官話的四平戲、亂彈戲也曾被歸類為白字戲，此部分則較少被提起。另一方面，對於資深的亂彈（北管）戲演員來說，以前亂彈戲班到閩南庄演出就以閩南語念白，到客家庄演出就以客家話念白，而只要念白改為白字即可稱為白字戲。由此可知，目前對於「白字戲」的定義仍存在著不同層面的分歧：是否「唱」、「念」均用方言才是白字戲？或以白字「念」白的就是白字戲？囿於具體音樂實例的缺乏，目前尚未見南管戲以外的戲曲符合唱、念均用白字的傳統劇種。1933年，由彰化、員林、鹿港知名的北管子弟先生所組成的「彰員鹿軒團」，為古倫美亞唱片公司所錄製的白字戲《賣蕃薯》（T160）唱片，說明了亂彈（北管）戲曲是可將唱、念均用白字的劇種。本文透過《賣蕃薯》歷史錄音的研究，發現《賣蕃薯》的唱、念均主要採用閩南語。溯源其故事內容，與日治時期流行的「乞食開藝旦」故事有關；分析其中的北管曲調，所使用腔調包括了北管福路、新路、梆子腔三大音樂系統，串聯【彩板】、【二簧】、【梆子腔】、【四空門】、【流水】、【緊板】、【緊中慢】、【平板】等，展現彰員鹿軒團對北管唱腔的編腔設計。《賣蕃薯》以實際的聲音展示亂彈（北管）戲與白字戲的關聯，揭示白字戲除了南管戲以外，也有其它不同劇種的實際案例。

關鍵字

北管；白字戲；唱片；古倫美亞；彰員鹿軒團；陳神助

並列摘要

Baizi opera is broadly defined as a drama performed in a dialect. It is not limited to any dialect or a specific genre. Since the Japanese colonial period, many scholarly investigations have pointed out that Baizi opera is directly associated with the Nanguan system operas, such as Liyuan opera, Jiujia opera, and Qizi opera, which are all sang and narrated in Minnan dialect. However, according to the literatures in Colonial Taiwan but rarely mentioned in scholarly investigations, Baizi operas are also referred to genres performed in guan hua (官話, official language or mandarin), such as Siping opera and Luantan opera. Furthermore, according to the experienced Luantan (Beiguan) performers, Luantan opera troupes used to perform Baizi operas regularly. In this context, Baizi operas refer to the spoken parts of opera narrated in dialects: while Luantan troupe uses Minnan dialect in spoken parts when presenting in the Minnan community and narrates them in the Hakka dialect when touring in the Hakka community. Therefore, from the cases mentioned above, there are two ways of defining Baizi operas: an opera that is both ＂sang＂ and ＂narrated＂ in the dialects; and an opera that is only ＂narrated＂ in dialects. Due to the lack of other musical examples, Nanguan Opera is so far the only instance of using dialects in singing and chanting parts of Baizi opera. ＂Bē Han Tsî＂ (T160), recorded by Chang Yuan Lu Xuan Group and produced by Columbia Records in 1933, can provide another instance of Luantan (Beiguan) opera using dialects in both singing and chanting parts of Baizi operas. By examing the historical music recording, this paper explores that ＂chanting＂ and ＂singing＂ parts of ＂Bē Han Tsî＂ are mainly performed in the Minnan dialect. The story of ＂Bē Han Tsî＂ can be traced back to the famous story ＂Beggar and whore＂ during Colonial Taiwan. Furthermore, it contains melodies from the three major musical systems of Beiguan, which are Fulu, Xinlu, and Bangziqiang. Those melodies are connected or arranged in series with Caiban, Erhuang, Bangziqiang, Sikongmen, Liushui, Jinban, Jinzhongman, and Pingban. The musical sound of ＂Bē Han Tsî＂ demonstrates Baizi opera's existence in Beiguan opera in addition to Nanguan opera, and it supplements our understandings of Baizi operas.

並列關鍵字

beiguan ； baizi opera ； record industry ； Columbia Records ； Chang Yuan Lu Xuan Group ； CHEN Shen-Zhu

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