臺灣內台戲舞台美術：源由、發展與實踐

本文欲探究曾引領臺灣地方戲劇走向光輝歲月的幕後推手——內台戲的佈景美術以及它的歷史源由、演變與實踐。內台戲的佈景藝術源於海派京劇及福州戲班的跨海傳播，戲班的佈景師及工匠隨團來臺演出，將這門藝術傳授給在地戲班。其中最為人稱道的便是福州人黃良雄於台南市西門路無尾巷所創立的「明星美術佈景研究社」，他身兼佈景設計師、畫社行政及對外接洽，無法親自製作佈景道具，於是聘請同鄉佈景師及木工師傅來協助，門下的學徒於工作中學習，承繼福州佈景藝術的技巧與觀念，許多成為後來內台戲以及台語片電影重要的佈景師。學徒當中，至今最知名的為身兼佈景師與畫家的侯壽峰，透過侯壽峰的口述講解過去內台時期的舞台藝術，試圖還原過去佈景師的生活、佈景製作的方法與流程。筆者將內台戲較著名的佈景項目，透過實例分項述說講解，企圖將未被重視的臺灣內台戲舞台美術整理出可依循的系統脈絡。內台戲華麗的佈景與神奇的機關變景，一直為戲班招攬顧客、刊登廣告的商業噱頭，因此舞台美術的重要性幾乎是今日的我們無法想像的。然而內台戲的佈景藝術並非無中生有，身為東西文化交流下大環境下的產物，早在中國宮廷戲歷史上即有跡可尋。此論文將找尋佈景藝術在中國戲劇史上的歷史脈絡，透過史料的考證，重新探索未被重視的中國舞台美術。並討論西方文化影響下，新式劇場的引入所造成的戲曲藝術改革，海派京劇及福州戲應運而生，其佈景藝術的發展帶來娛樂事業的新商機。本研究將重新檢視舞台美術於中國戲劇史中的定位，並整理其歷史脈絡。透過實地走訪老戲院了解過去內台時期的舞台藝術，同時藉由訪問內台戲佈景師侯壽峰，理解內台戲佈景藝術的製作方式與內容。在此一結構下，台灣內台戲的佈景美術將與整個中國戲曲藝術史產生聯繫。

關鍵字

臺灣內台戲；舞台美術；演出技術；明星美術佈景研究社；侯壽峰；海派京劇；福州戲

並列摘要

Abstract The intention of this paper is to review stage design in indoor traditional Taiwanese opera. This thesis will discuss and study its origin, development and practice. The success of indoor traditional Taiwanese opera comes to its splendid stage design, device and props. The origin of stage design in indoor traditional Taiwanese opera is from Shanghai and Fuzhou Chinese opera. Their stage designers, technicians and carpenters accompany theatre troupes to Taiwan, settling down and making scenery for both Chinese and Taiwanese theatre companies. All these skills and techniques in stage design made indoor traditional Taiwanese opera become the most popular entertainment in Taiwan. Stage design in Chinese history is lack of concern for the abstract narration in Chinese theatre arts. However, the stage design in indoor traditional Taiwanese opera originated from China. Therefore, there is a chapter to discuss the chronological history of set design in every dynasty. The spread of Western influences made the innovation of traditional stage design, from theater to scenery. The concept of western and eastern performance art combined together and created notable Shanghai and Fuzhou Chinese opera, both focusing on stage design and spreading to Taiwan. This thesis will make a quick review about them and back to the discussion of the main topic. As time goes by, few people know the knowledge of stage design in the past indoor Taiwanese opera. The goal of this paper is to record the memory and process of making scenery, props and device. In the meantime, in order to realize the tradition of set-making and stagecraft in the past, pursuing the history of “ Ming-shin Scene Shop” , which was founded by a famous Fuzhou stage designer, Liang-Hsiung Huang(黃良雄). In this thesis, all the knowledge about the traditional Taiwanese stage design are from the leading stage designer in indoor traditional Taiwanese opera, Shou-Feng Hou(侯壽峰). In conclusion, the primary goal in this thesis is to pursue the history and record the way indoor traditional Taiwanese opera used to make their stage art.

並列關鍵字

Indoor traditional Taiwanese opera ； Stage design ； stagecraft ； Ming-shin scene shop ； Shou-Feng Hou ； Shanghai Chinese opera ； Fuzhou Chinese opera.