論漢唐樂府的《洛神賦》編演策略：以場次安排、原典應用與音樂設計為中心

Arrangement and Performance Strategies of ＂The Lyric for Lo River Goddess＂ by Han-Tang Yuefu Music Ensemble: Session Organization, Literary Allusion and Music Design

施政昕(Shih Cheng-xing)

《中國文學研究》 49期 (2020/02) Pp. 41-73

https://doi.org/10.29419/SICL.202002_(49).0002

摘要

自1996年漢唐樂府成立「梨園舞坊」，並推出《艷歌行》舞作以來，連年推出新作，樹立了別具一格的新南管／梨園樂舞美學典範。2006年，漢唐樂府南管古樂團與法國導演盧卡斯．漢柏（Lukas Hemleb）合作，編創了〈洛神賦〉南管歌舞劇，透過南管音樂、梨園樂舞以及現代劇場元素的導入，對〈洛神賦〉進行了立體化的嘗試。與漢唐樂府前期的舞作相比，《洛神賦》有更大的企圖，融入了多元的元素，藉由刺激聽覺、視覺的感官饗宴，再現〈洛神賦〉文本中幽微細膩的詩心傾訴。本文以《洛神賦》舞作為討論焦點提出討論，從舞作的場次安排、舞作對〈洛神賦〉文本與圖本的接受，以及舞作的音樂安排三個方面切入，觀察漢唐樂府洛神賦的演出，希望能夠通過細部的研究與分析，為個別舞作更深入的發掘一種觀看的可能。

關鍵字

漢唐樂府 ； 梨園樂舞 ； 《洛神賦》 ； 南管 ； 陳美娥

並列摘要

Han-Tang Yuefu Music Ensemble, renowned for its Nanguan music, was founded in 1983 by Chen Mei-o. Chen's works also drew inspiration from traditional Liyuan Opera, and the ensemble established a dance group, Liyuan Wufang, in 1996. The first performance by the group was ＂Yan Ge Xing＂(艷歌行), and they gradually built up a new nanguan and liyuan performance aesthetic with their stage works. In 2006, Han-Tang Yuefu collaborated with French director Lukas Hemleb to create the breakthrough musical, ＂The Lyric for Lo River Goddess.＂ It was adapted from ＂Ode to the Nymph of the Luo River＂ (洛神賦) by Cao Zhi, and pictorial artworks based on the rhapsody. The show incorporated nanguan music, liyuan dance choreography, and modern theatre techniques to deliver an exciting visual and audio experience to the audience, including martial arts, drums, and fencing. It re-presented the delicate emotions reflected in Cao Zhi's original work, which tells a heart-wrenching Chinese legend. This paper aims to discuss a new possibility of viewing ＂The Lyric for Lo River Goddess＂ from three aspects: how the sessions were arranged, how the original work was adapted and transformed into a stage musical, and how the music was designed.

並列關鍵字

Han-Tang Yuefu Music Ensemble ； Chen Mei-o ； ＂The Lyric for Lo River Goddess＂ ； nanguan music ； liyuan dance opera

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