析論歌仔戲〈胡漢笳音〉

The Study of Taiwanese Opera, Hu-Han Jia Yin

彭心怡(Peng Hsin-Yi)

《臺陽文史研究》 7期 (2022/01) Pp. 1-27

摘要

蔡文姬生於亂世，命運多舛，以她的遭遇鋪寫為劇作的作品不少，本篇擬以歌仔戲〈胡漢笳音〉為底本，分析劇中人物的情節設置、角色性格以及語言特色。文章一開始會先介紹〈胡漢笳音〉的故事梗概，我們認為故事中有兩個高潮點，分別是第三場的「鞞鼓喧兮」與第八場的「芳草綠羅」，這兩場分別拆散了故事中兩位女主羽娜和文姬的婚姻。接著文章會討論劇中較具特色的主角，包括蔡文姬、羽娜、左賢王、衛仲道以及八兩。羽娜為本劇新創造出的角色，且因這個角色的創立，讓整個劇作的重心，由胡、漢的對立，移轉至兩個女主的愛情線上，所以本文也會針對羽娜做較多篇幅的說明。最後是本劇的語言，文章將分念白與唱詞兩個部分來討論。念白運用了許多閩南語的俗諺、俚語以及諧音哏，八兩與小婢的對話特別精采。〈胡漢笳音〉裡有化用〈悲憤詩〉（其一）與〈胡笳十八拍〉的文句，唱詞部分尤為明顯，本文也將討論其內容與引用之處。

關鍵字

〈胡漢笳音〉 ； 〈胡笳十八拍〉 ； 蔡文姬 ； 羽娜 ； 左賢王

並列摘要

Cai Wen-Ji (蔡文姬) was born in troubled times and had several setbacks during her life. A lot of plays were adapted from Wen-Ji's life. This article consists of three parts: the plot, the role and the language. At first, this article would introduce a broad outline of this story, Hu-Han Jia Yin (胡漢笳音). There are two climaxes in this story. The couple, Cai Wen-Ji and Wei Zhong-Dao (衛仲道), parted which was the first climax. The love relationship was much estrangedness between Zuo Xian-Wang (左賢王) and his wife, Yu-Na (羽娜) which was the second climax. This article would introduce some representative characters, such as Cai Wen-Ji, Yu-Na, Zuo Xian-Wang, Wei Zhong-Dao and Ba-Liang (八兩). Yu-Na is a brand new role of this story and this article would use many pages to talk about her. At last but not least, this article would discuss the language of Hu-Han Jia Yin. Split the language into two parts: dialogues and lyrics. Dialogues use many idioms and slangs of the Min dialect. The dialogues are extremely good between Ba-Liang and the maid of Yu-Na. The writer of Hu-Han Jia Yin has borrowed freely from the poems of Bei-fen (悲憤詩) and Hu Jia Shi Ba Pai (胡笳十八拍).

並列關鍵字

Hu-Han Jia Yin ； Hu Jia Shi Ba Pai ； Cai, Wen-Ji ； Yu-Na ； Zuo Xian-Wang