劇場即教室之延伸論說歌仔戲《大湧來拍岸－臺灣子婿‧馬偕》之製作、教學與演出

本文主要呈現國立臺灣戲曲學院歌仔戲學系師生完成新編歌仔戲《大湧來拍岸－台灣子婿‧馬偕》的過程與戲曲表演教育的反思。本劇從單場演出到全劇演出，三年間歷經外台到內台四種版本的演化，因此從題材發展、劇本改寫類型、導演創新手法、唱腔音樂的編創、舞台的多媒體呈現與行銷等演等面向的演進，具備深入探討的價值。此外就劇場教育實踐的探討也包括：主副修課程與本案的有機連結、主副修專業課程的改變以及劇場作為延伸性學習的意義。再者，本劇作為一個西方近代人物傳記的戲曲創作，在題材呈現上融合寫實主義無可迴避，有許多新的表演語彙為傳統的唱腔與功法中所無，使用的服裝道具在傳統的戲箱中也不存在，而西方語言、宗教與文化並置於傳統戲曲舞台深更具挑戰，因此它也回應傳統戲曲在現代題材改編歷程上必須面對的若干問題。筆者全程參與製作，三年來在不同階段訪問參與的老師與學生，紀錄本劇從外台到內台的演變歷程與教學轉化，期待在此實證的經驗上，為當代歌仔戲藝術的創新與教育方法提供管見，裨供各界參考。

關鍵字

歌仔戲；戲曲劇場教育；國立台灣戲曲學院；馬偕醫院、《大湧來拍岸－台灣子婿‧馬偕》

並列摘要

This article mainly represents the creations of the experimental Gezixi ＂The Sounds of Surfs Crashing on the Shores: MacKay, Taiwan's Son-in-Law.＂ and its reflections on the education for fledging artists. From a short lyric piece to a feature length theatrical performance, this production went through four versions from its debut. This research is based on its evolution and will discuss the following aspects, the evolution of story, form, writing, directing, music, set design, marketing. It also argue the new teaching methods practiced as an organic connection between conventional apprenticeship which cooperated with this religious commissioned project as extensive classrooms for performing art majored students. Because this production is based on the autobiography of Rev. George Leslie MacKay (1844-1901), a westerner spent half of his life to preach and practice medicine on northern Taiwan during late 19th. Century, to present his life on stage in realism would be an unavoidable issue for Gezixi theater which employed abstract performing style as a long tradition. And the traditional performing skills could be restricted for actors to play an foreign figure from Canadian Presbyterianism. Yet, many modern vocabularies as well as the western costumes were rarely appeared in the past. The juxtaposition of this western, his language, culture and religious mission as a main theme on the traditional Gezixi stage is challenging. This experiment is definitely a case of responding, when traditional Gezixi performing arts facing modern subjects. The reflection on its practice could be valuable for contemporary Gezixi arts and its innovation in educating traditional theater majored students.