從和番「大小牌」的古典取徑試論當代採茶戲曲音樂設計之手法運用

臺灣客家戲曲根生於民間，距今約百餘年的歷史發展，其藝術內涵透過發展歷程中多元文化的交融與展演性質的多種樣貌，在在表現出客家採茶戲涵融著亂彈戲、四平戲、京劇等不同劇種的藝術內涵，也使臺灣客家戲曲在展演上呈現更大的能量。在2014年國立臺灣戲曲學院客家戲學系學院部「103年年度製作」展演劇目《明妃》中，筆者發現劇本修編與音樂設計，有意識將臺灣北管文化圈「大小牌」（細曲）──〈和番〉五牌作為教育與藝術考量呈現，次年又有客家電視戲曲節目《昭君和番》一劇，以及客家大戲《背叛》演出中，皆可觀察到音樂設計者對於北管「大小牌」──〈和番〉所呈現出不同的樣貌，這看似復古的設計手法，無疑對客家戲曲向古典取徑提供一條新的道路。因此，本文主要將藉由上述三個版本〈和番〉「大小牌」在戲曲表演中的具體使用方式，比對說明其音樂設計者具體的創作手法。筆者認為這樣的音樂設計方式，除了是有意識的將戲曲文獻重新賦予新生命，使之不僅是典藏館的歷史史料外，更能提供客家戲曲在曲腔發展上更具意義內涵的創新素材。

關鍵字

客家戲；音樂設計；細曲；北管

並列摘要

Taiwanese Hakka opera was developed by ordinary citizens approximately a hundred years ago. Throughout its history of development, Hakka Opera has integrated the art content of vaious types of drama, including Luan-tan-shi, Siping Opera, and Peking Opera. As a result, Hakka Opera shows a greater capacity for performance. In 2014, the annual production by the Department of Hakka Opera, National Taiwan College of Performing Arts was Mingfei. The author of this study noticed that the screenplay editing and music design of the drama intended to incorporate ＂Da-shiau-pai＂ (i.e., you-qu) - ＂Ho-Fan＂ wupai in the cultural circle of Beiguan music in Taiwan into education-based and artistic performance. In the following year, the Hakka TV show Chao-Chun Ho Fan and Hakka drama Betrayal both presented Beiguan ＂Da-shiau-pai＂ - ＂Ho Fan＂ in a different light. This seemingly vintage design technique is no doubt a new path through which Hakka opera can learn from the classic works. Therefore, this paper has utilized the concrete presentation of the aforementioned three versions of ＂Ho Fan＂＂Da-shiau-pai＂ in Xiqu to explain their music designers' concrete creation methods. The author believes that this music design method intends to give a new life to the literature of Xiqu, making it more than historical materials. More importantly, it enables the development of aria in Hakka opera to provide more meaningful and innovative materials for its creation.