國家政策下的外台歌仔戲班──以1990年代後期迄今之創作演出為觀察重心

The Style of Outdoor Taiwanese Opera Troupes in Taiwan---A Study of the Creative Performances after National Policy of Guidance from Late 1990s until Now

紀慧玲(Hui-Ling Chi)

指導教授 ： 邱坤良博士 ； 林鶴宜博士

國立臺灣大學/文學院/戲劇學研究所/碩士(2007年)

https://doi.org/10.6342/NTU.2007.01515

摘要

外台歌仔戲班是台灣歌仔戲目前最大數量的表演團體類型，指的是以酬神演出為主收入來源的民間職業歌仔戲班。1980年代以來，由於政府的文化政策開始重視本土文化，歌仔戲獲得官方不少支援，然而，為數最多的外台歌仔戲班獲得的補助仍少於公演性劇團──這些劇團以進入劇場演出為主，並不從事廟口演出的職業活動。1990年後期，由於政府著手辦理幾項針對外台歌仔戲班的演出活動與創作計畫，包括國立傳統藝術中心「外台歌仔戲匯演」、國家文化藝術基金會「歌仔戲製作與發表專案」，使得外台歌仔戲班的演出與創作活力受到關注，多年下來並累積了豐碩成果。

本文以1990年代後期迄今外台歌仔戲班的主要創作演出為研究重點，一方面勾勒外台歌仔戲班在20、21世紀交會前後的創作現象，再方面分析這些創作具有的藝術特色、劇團特點及對歌仔戲劇種藝術發展的意義。同時，本文也分析這波創作活動對外台歌仔戲班劇團營運的影響，以及歌仔戲整體生態變遷上的意義。本文雖以國家政策為題引，但並不著力分析國家政策與文化發展之關係、國家政策的指涉範圍、政策施政成效及其利害辯證，主要論述內容仍以創作表現為主。研究方法以演出觀察、田野調查及文獻參考為主。

全書分為六章。第一章緒論說明研究動機與目的、文獻回顧、研究方法。第二章回顧歌仔戲發展歷程及其間主要政策，說明外台歌仔戲的重要性在於延續內台歌仔戲表演特質，以及1990年後期相關政策背景重點。第三章羅列台灣北、中、南部創作力較活躍的代表性外台戲班：陳美雲、一心、民權、新櫻鳳、國光、明珠女子、秀琴、春美、明華園天團等共計九團，介紹劇團特色及其主要創作內容。第四章分析1990年後期以來外台歌仔戲班在編劇、導演、表演及音樂設計上的創作特色以及劇團經營上的變化。第五章分析這些創作對整體歌仔戲劇種藝術、表演生態以及外台歌仔戲營運市場的意義。第六章為結論，總結政府鼓勵創作對外台歌仔戲發展的重要意義，以及試論外台歌仔戲班未來發展的幾個可能。

關鍵字

歌仔戲 ； 外台歌仔戲班 ； 劇目 ； 導演 ； 音樂設計 ； 戲路 ； 文化政策

並列摘要

The Outdoor Taiwanese Opera Troupe is the largest genre of its kind so far in Taiwan, putting on a show in front of a temple demanded by customers to express their thanks to god as the main resource of its income. Since 1980s, Taiwanese Government has been focusing on local culture, giving Taiwanese Opera troupes subsidies and supports. But the lion’s share went to the indoor troupes rather than the outdoor troupes which are in the majority. Until late 1990s, Taiwanese Government began taking care of outdoor troupes carrying out several performances and artistic creation plans such as “Taiwanese Opera Collection” by National Center for Traditional Arts, “Grant Program for Taiwanese Opera Production and Publication” by National Culture and Arts Foundation, leading to the high profile of Outdoor Taiwanese Opera and its dynamic creation and the consequent harvest of many years of endeavor.

This research is focusing on the creative performances of Outdoor Taiwanese Opera from late 1990s until now, hoping to outline the performing appearance of Outdoor Taiwanese Opera at the turn of the century and analyze their artistic feature, the characteristics of the performing troupes and the significance for the development of Taiwanese Opera. In the meantime, this research also tries to analyze the impact on the operation of outdoor troupes during this period and tries to understand the special meaning to the changing ecology of Taiwanese Opera as a whole. Since the national policy of guidance is an introductory topic in the whole study, this research is not going to focus on the relation between national policy and cultural development, the boundary of national policy, the outcome of the policy and its resulting effects. The main discourse of this study is focusing on the creative performances of Outdoor Taiwanese Opera Troupes. The research method of this study includes live show observation, field research and literature.

This study includes six chapters. Chapter one explains research motive, purpose, literature review and research method. Chapter two retraces the development of Taiwanese Opera under national policy of guidance, pointing out that Outdoor Taiwanese Opera Troupes are extending the distinguishing characteristics of the performance of indoor troupes. Chapter Three enumerates representative Outdoor Taiwanese Opera Troupes in northern, central and southern Taiwan respectively and depicts their distinguishing feature and their main creations. These nine troupes are as follows：Chen Mei-yun( 陳美雲), Yi-shin（一心）, Min Kuan（民權）, Shin Yin Fong（新櫻鳳）, Kuo Kwang（國光）, The Pearl Girls（明珠女子）, Shiukim（秀琴）, Chun-Mei（春美）, Ming Hwa Yuan “Tien Troupe”（明華園天團）.

Chapter four analyzes the feature of these creations on scriptwriting, directing, performing, score-writing and the variations on their operation from late 1990s until now. Chapter five finds out the meanings of these creations for the Taiwanese Opera as a whole and the change of the operation of the Outdoor Taiwanese Opera Troupes. Chapter six comes to conclusions. It deals with the important meaning of the encouragement from the government for the Outdoor Taiwanese Opera development. It also likes to paint a picture of future development of the Outdoor Taiwanese Opera Troupes.

並列關鍵字

Taiwanese Opera ； Outdoor Taiwanese Opera Troupe ； Plays ； Director ； Score ； Playbill ； Cultural Policy

參考文獻

曾永義（1988），《臺灣歌仔戲的發展與變遷》。台北：聯經出版社。

邱美慈（2003），《陳美雲演藝史及其演出本三種研究》。台北：文化大學藝術研究所碩士論文。

莊曙綺（2005），《從報紙廣告看戰後（1945-1949）台灣商業劇場的演劇生態》。台北：台灣大學戲劇研究所碩士論文。

張秀琴訪談，2006年12月11日，台南市。

參考資料