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七子戲在臺灣的傳承與變貌

The Continuity and Changes of the Qizi Opera in Taiwan

摘要


臺灣七子戲敵不過後起的北管與歌仔戲,早已失去了商業市場的競爭力。純粹由童伶承擔演出任務的七子戲如今已不可見,但其模仿傀儡身形卻又堅持細膩優雅的典範卻不曾因此而滅絕。不論是過去的歷史曾經發生還是現在仍在進行的傳藝活動,延續了七子戲的存繼:李祥石藝師幾次的傳藝活動,奠下七子戲在臺維繫的生機;吳素霞老師堅持著傳統的複製再現,新錦珠劇團則試圖在高甲音樂與七子戲文中找到平衡。另有創新變貌的一派在傳統的基礎上嘗試新的可能,以跨文本、跨領域甚至是跨文化的跳躍,保留南管後場音樂與七子戲優雅細膩身段,結合不同領域的藝術工作者,發展出有機組合的新貌。陳美娥的「漢唐樂府•梨園樂舞」與周逸昌的「江之翠南管梨園劇團」,不泥守於既有的表演框限,在古雅劇場中展現新的姿態,甚至與跨國文化接軌,爲古老的劇種在現代劇場尋求更接近時代精神的展現。

關鍵字

七子戲 傳藝計畫 梨園樂舞

並列摘要


The Taiwanese Qizi Opera (Seven Youngster Opera) stands no match for Beiguan Opera (Northern Wind Instrument Opera) and Gezi Opera (Singing Opera), has long lost its competitiveness in commercial market. The kind of Qizi Opera performed solely by child actors is now no longer visible, but its imitation of puppet statures insisting however to maintain the refined elegance has not ceased. Qizi Opera continues its heritage owing to artists in this field both from the past and present. Among them Li Xiangshi's several traditional art activities laid foundation for the vitality of Qizi Opere in Taiwan. Besides, Wu Suxia adheres to the traditional replica, and the Xin Jinzhu Theater Company of Nanguan Opera (Southern Wind Instrument Opera) attempts to find balance between the Gaojia Music and Qizi Opera. Yet another school of innovation and change appears which explores new possibilities based on tradition, such as cross-text, cross-area and even cross-cultural experiments. It retains the background music of Nanguan and the elegant movements of Qizi Opera, combining artists from different fields and creating an organic new look for Qizi Opera. Further, Chen Mei'e's ”The Han Tang Yuefu Music and Liyuan Opera Dance,” and Zhou Yichang's Jiang Zhicui Nanguan Opera Company do not abide in existing performance rules, both display new gestures on quaint theaters. They even try cross-cultural integration, seeking new outlook closer to the spirit of modern stage for this ancient theatrical form.

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