戲語人生─二十世紀末嘉義地區外臺歌仔戲藝人之探討

Drama Tells Life ─Research on the Outdoor Taiwanese Opera from the Chiayi Area in Late 20th Century

陳咨伊(Tzu-Yi Chen)

指導教授 ： 李秀琴

國立臺北藝術大學/音樂學院學術論文/傳統音樂學系碩士班理論組/碩士(2013年)

https://doi.org/10.6835/TNUA.2013.00023

摘要

嘉義地區的戲曲狀況，在早期並未發現相關的記載，直到西元1717年周鍾瑄編纂的《諸羅縣志》，才有記錄當時戲曲活動的盛況。日治時期戲曲活動記錄更多，根據資料顯示有五團內臺歌仔戲團成立於此時。戰後，戲曲活動更盛，目前所知有記錄的內臺歌仔戲團就有19團。而嘉義地區的外臺歌仔戲，最早的記錄見於日治時期《台南新報》對民雄大士祭的報導，當中提到十餘團外臺歌仔戲參與演出之情況。
本論文訪問七位嘉義地區歌仔戲藝人，他們出生的年代於西元1940至1960年。出生於此年代的藝人，大多仍有受過紮實的文武基礎訓練，他們在舞臺上最活躍的時間為二十世紀末，故本文以此界定研究的時間範圍。
嘉義地區現有登記之歌仔戲團共17團，皆為外臺歌仔戲團，演員年紀多為中、老年，青年演員極少。演員來源有戲班或演員之養女、出生戲班世家及半路轉進歌仔戲三種，這三種類型的演員，其學藝過程也大不相同。嘉義地區歌仔戲的表演藝術，從某些角度看似乎不夠精緻，但藝人們對於某些方面的作法，仍有他們自己的堅持，例如對頭飾、戲服的高品質要求。在音樂運用上，前場與後場的手勢暗號、默契搭配，都是戲好不好看的關鍵。另近年來劇團為節省人力成本，將後場刪減到文武場只各剩一人，對演出的音響效果也造成很大的影響。
本研究特別針對嘉義地區當時活躍民間的七位歌仔戲藝人，從其出生背景、學藝的過程，到成為藝人的身份，有翔實的著墨，間接反應歌仔戲與藝人生活的一面。

關鍵字

二十世紀 ； 嘉義地區 ； 歌仔戲 ； 歌仔戲藝人 ； 歌仔戲音樂

並列摘要

Local operas in Chiayi region were not documented in early days until 1717 when Zhou Zhongxuan wrote the Chulo County Annals which documented the grand activities of local operas at that time. During the Japanese Ruled Period(1895-1945), more documents about the local operas were available, and they showed that five Taiwanese Opera groups of indoor stage performance were established in this era. After the World War II was over, the local drama flourished even more. Up to date, there are 19 Taiwanese Opera groups of indoor stage performance documented. Meanwhile, the earliest documented Taiwanese Operas of outdoor stage performance in Chiayi was seen in the Tainan Newspaper published in the Japanese Ruled Period, which reported the grand activities of more than 10 opera groups on the field stages.
This thesis covers interviews with 7 Chiayi opera performers, who were born between 1940 and 1960, the era of performers with solid martial and literary trainings. They were most active on stage at the end of the 20th century. Therefore, this thesis takes this timeframe as the study scope.
In Chiayi region, there are now 17 registered Taiwanese Opera groups, all of which are of outdoor stage (or so called field stage) performing. These performers are mostly middle-aged or seniors, and young performers are very few. They have three different origins: adopted daughters of the opera troupes or performers, the ones born to opera families, and the ones half-way jumping into the opera career. Performers with these three origins learned the opera skills in very different ways. Although the performing art of Chiayi’s Taiwanese operas seems not fine enough, at least from certain perspectives, these artistic performers have their own insistence on performing. For instance, they demand high-quality headgear and costumes, and the use of sound and music, the hand gestures and signals in the front stage and back stage and the tacit understanding, all matter to the stage performance. The cost-down in recent years has reduced the musicians for martial and literary plays down to one person each, which has brought about substantial impact on the performing acoustics.
This research was especially for seven Taiwanese Opera artists in Chiayi,from their background, the process of apprenticeship to become the artist.There are detailed statement,indirect response to Taiwanese Opera and artists living side.

並列關鍵字

20th Century ； Chiayi Area ； Taiwanese Opera ； Artists of Taiwanese Opera ； Music of Taiwanese Opera

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