歌仔戲古路戲劇目的敘事程式與變形程式探論

A Study on The Patten and Transformation of The Narration of The Gu-Lu's Repertoires in Taiwanese Opera

蘇怡安(Yi-An Su)

指導教授 ： 林鶴宜

國立臺北藝術大學/文化資源學院/傳統藝術研究所/碩士(2009年)

摘要

日治時期因商業劇場的活絡以及來台中國戲班的刺激，整體戲曲環境趨向追求新奇、熱鬧的表演美學，而同台共演以及教學、演出等目的而造成的人員流動，則為密切的劇種交流提供極佳的平台。盡管許多吸收的方式並非全然的「正規」、「有系統」，但是歌仔戲卻在其中的「孔洞」中，逐漸發展出「在移植自他者的過程中，植入自身審美以及價值」的方式。因此盡管劇目具有移植自其他劇種，以及講戲人透過直接閱讀古冊來創編新戲等的多元方式，卻均可在此「歌仔戲化」的「轉譯」過程中，成為深具歌仔戲特色的歌仔戲劇目。筆者從古路戲劇目敘事的程式梳理出發，一方面補足歌仔戲劇目在古路戲敘事程式上討論的闕如，一方面透過其變形的探討，嘗試探討歌仔戲劇種美學的獨特性。
本論文共分為六章，第一章緒論為研究動機與目的、文獻回顧、研究範圍與對象。第二章為「劇種移植環境之背景與模式」，分別自劇目移植環境的建立、海派京劇的影響、移植的方式分述。第三章為「古路戲的敘事程式」分別歸納歷史劇目以及公案劇目的敘事程式，並整理古路戲基型以及常見敘事程式。第四章為「變形的型態分析」分別自歷史劇目的主題、移植的選擇以及行當對劇目敘事程式的影響探討變形的型態。第五章從《三請孔明》、《金玉奴》、《黃巢造反》三齣劇目分析其敘事變形。第六章為結論由劇目的移植與變形探討庶民文化以及劇種美學，希望透過對於歌仔戲移植環境與方式，以及古路戲敘事程式的規律與變形的探討，能為如何欣賞外台歌仔戲提供對於民戲審美認知以及欣賞詮釋的一點思考。

關鍵字

歌仔戲 ； 古路戲劇目 ； 敘事程式 ； 敘事變形

並列摘要

In Japanese Colonial Taiwan, due to the thriving of commercial theater and stimulation brought by troupes from China, the aesthetics of traditional operatic performance tended to put emphasis on novelty and thrill, with all the personnel interflow resulting from costarring, instructing and performing providing an excellent stage for intense interaction among different Chinese operas. Much of the absorption was not formally “orthodox” and “systematic”; however, Taiwanese Opera had managed to through the “crevice” instill its own aesthetics and value while transplanting things from “the Other.” This way, although the repertoire was transplanted from other Chinese operas or created by story-tellers with their knowledge of classic literature, through the “interpreting” process, Taiwanese Opera had shaped a repertoire profoundly characterized its own flavor. This study begins with sorting the narration formula of Taiwanese Opera’s old-style repertoire, complementing the lack of discussion on this field, as well as probing Taiwanese Opera’s aesthetic uniqueness through investigating the transformation.
This study comprises six chapters. As introduction, ChapterⅠexplains motive, purpose, scope, and objects of the study, along with its literature review. ChapterⅡ, The Background and Modes of Opera Transplantation, expounds the environment formation and approaches of repertoire transplantation plus the influence from Shianghai-School Beijing Opera. ChapterⅢ, Narration Formula of Old-Style Repertoire, categorizes narration formula of history and court plays, clarifying frequently employed ones and old-style repertoire prototypes. ChapterⅣ analyzes transformation patterns, discussing from the views of history repertoire’s themes, transplantation options, and character types’ impact on narration formula. Three plays—Thrice Supplicating Kong Ming, Jin Yu-Nu, and Huang Chao’s Rebellion— are taken as example in ChapterⅤto examine how narration transformation worked. As conclusion, ChapterⅥ inspects plebeian culture and opera aesthetics via repertoire transplantation, in the hope of providing some food of thought and revelation on how to appreciate outdoor Taiwanese Opera.

並列關鍵字

Taiwanese Opera ； Formation ； Transformation

參考文獻

曾永義，1988，《台灣歌仔戲的發展與變遷》，台北：聯經。

林鶴宜，2008，〈「做活戲」的幕後推手：臺灣歌仔戲知名講戲人及其專長〉（《戲劇研究》，創刊號抽印本，台北：台大戲研所。

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李佩穎，2008，《我們賴以生存的「戲」：試論歌仔戲圈的國家經驗》，清大社會所碩論。