「行路」與「自述」：歌仔戲曲調運用程式的傳統與當代實踐

臺灣歌仔戲在民間流傳百年光陰，隨著時代演進與市場變遷養成博採眾長、海納百川的劇種性格，音樂曲調內容也集腋成裘。看似紊亂龐雜的曲調資源，卻也在從業者代代傳承中，奠定許多「約定俗成」的運用規範，部分曲調的「曲情」符號指涉性愈趨鮮明，「曲調」的選用準則被強調與深化，有時甚至超越「唱詞」的意義，形成從業者相沿成習的「傳統」用法。本研究擬綜觀歌仔戲的「曲調運用」慣性，探索歌仔戲傳承歷程中形成的規範與實例。除了歌仔戲「原有曲調」（或稱「傳統曲調」）組成的「傳統程式」外，部分劇團也將當代音樂創作者的「新編曲調」作品融合在活戲的演出中，自成表演系統與劇團獨有的套路。本文首先以爬梳歌仔戲曲調運用分類之既有文獻，進而歸納製表。研究者結合各家學說與自身學藝經歷，將歌仔戲「古路戲」中「以唱腔展示劇情」的時機進行簡化概括式的分類，在「敘述」、「抒情」、「戲劇」等三種唱腔功能性的基準之下，細分「行路」、「自述」、「對話」、「私語」與「表演」等五種舞臺行動作為關鍵基準，因曲調種類眾多，篇幅過大，本文聚焦於「行路」與「自述」類曲調之運用程式的傳統與案例；最後以明華園天字戲劇團演出例證，探討曲調運用程式的當代體現與實踐，從中探究其手法承襲與當今從業者塑造的「獨門套路」。

關鍵字

歌仔戲曲調；曲調運用；新編曲調；行路；自述

並列摘要

Gexizi in Taiwan has prevailed in its local society for over one hundred years. As the era and market change from time to time, its characteristics has absorbed the traits and advantages from other genres of drama, and the accumulation of its musics and labeled melodies was thus developed. Even though such a musical source was deemed wide-ranging and disorderly, it contains a convention which was implemented and inherited by the Gezixi troupes. The referential function of the emotional outflows in some of the labeled melodies is becoming more and more vivid, and the standards of the selection of labeled melodies were deepened, and sometimes it even surpasses the meaning of the lyrics. This, has altogether formed so-called ＂traditional＂ application which was practiced by the troupes for many generations. This study aims to briefly examined the convention of the application of ＂labeled melodies＂ of Gezixi, exploring the examples and specification brought by the historical evolution of Gezixi. In addition to the traditional formula of ＂Authentic Labeled Melodies＂ (also called ＂Traditional Melodies＂), some troupes even adopt the newly-composed melodies into their improvised performance, forming a new performing system and unique set-patterns owned by the troupes. This study reviews the categorization and historical literatures regarding the application of labeled melodies of Gezixi, and further sum up the thesis statements by tabulation. The researcher combines his own experiences and the theories from other scholars to briefly categorize the timings of ＂Using Aria to Elaborate the Plot＂ in those chronical plays. With the functional arias based on ＂Narration＂, ＂Emotion Sentiments＂ and ＂Drama＂, the stage movements are divided into five items, including ＂Walking＂, ＂Self-narration＂, ＂Dialogue＂, Whispering＂ and ＂Performing＂. However, as the source of the labeled melodies is too wide-ranging and its length is too long, this study focuses on the tradition and the case study of the ＂Walking＂ and ＂Self-narration＂. Lastly, the researcher uses the production of Ming Hua Yuan Tien Taiwanese Opera Troupe as example to discuss the tradition and the contemporary practice of the application of labeled melodies, exploring the heritage and unique ＂Set-patterns＂ by the Gezixi troupes.

並列關鍵字

Labeled Melodies of Gezixi ； the Application of Labeled Melodies ； Newly-composed Melodies ； Walking ； Self-narration

主題瀏覽