北管扮仙戲《天官賜福》的音樂結構研究

A Study in structure of Beiguan Music - In The Case of Bann-Sehn-Xi "Tien-Guan-Sih-fu"

蔡雅玲(Ya-Ling Tsai)

指導教授 ： 溫秋菊

國立臺北藝術大學/文化資源學院/傳統藝術研究所/碩士(2005年)

摘要

《天官賜福》一劇為乃流傳甚為廣的一齣戲劇，在不同時代不同時代劇種中
皆有其流傳的普同性與典範性，包括劇情文本中的念白、唱辭及其所使用之曲牌
腔系音樂，使此劇成為扮仙戲或開場戲當中頗負盛名之著作。
從表演形式上來看，《天官賜福》的表演特色，在內容上也透露出獨特的敘
述表現手法，其中「賜福」的情節場面不厭其煩的描述十分突出，且與劇中其他
音樂曲牌文辭有著系統上的關係，本篇論文即著眼於對這系統關係的探討與觀
察，期望能在看似空泛無張力的戲劇風格中，找出隱藏系統關係其中的特殊性風
格，進而觀察其風貌、探討其效果。
此篇論文旨在以符號學（semiology）與結構主義（structuralism）的方法，探討
《天官賜福》一劇演出中之曲牌音樂，試圖論證其在戲劇表演中的符號性與結構
性的意含。
論文使用源於瑞士語言學家索緒爾（Saussure）之符號學（semiology），與
結構主義（structuralism）符號學者李維史特勞斯（Claude Levi-Strauss）等人之
結構主義理論，討論音樂之符號性與其再結構中的語言性，因此本篇論文採用索
緒爾的符號學理論及結構主義語言學的理論並陳，加上筆者的詮釋與延伸，作為
此篇論文的理論基礎；其為探討劇場音樂語言中的符號系統，如何與表演身段之
符號聯結，構成一聯結作用之關係網絡，並且討論音樂參數相互問的作用原則，
試圖勾勒出扮仙戲的儀式性與象徵性主體之扮仙特點，並進一步觀察此在系統運
作中的戲劇效果與其呈現的特殊風貌。
關於研究對象與切入角度的選擇，即為何選擇研究北管扮仙戲中的的《天官
賜福》，以及為什麼是以符號學及結構主義的學說作為切入的理論基礎，筆者將
從幾個方面加以說明，《天官賜福》之類的扮仙戲，已有不少學者先輩在著作中
論及北管扮仙戲，但多為歷史朔源或是劇目考證方面，對扮仙戲的研究或是文學
史脈絡中，做一綱目式的羅列，或是將其曲牌做為一「純音樂」的分析，無視曲
牌為立基於在戲劇表演之上，與大部份的純音樂形式有截然的不同，這將是傳統
戲劇音樂研究上的損失與遺憾，因此筆者認為仍有許多尚待開發之處；至於選擇
《天官賜福》的曲牌音樂為研究對象，除了筆者個人對《天官賜福》流傳普遍的
感動之外，更為其劇中之內容在各劇種中的普同性與普遍性為其獨特點，故選擇
《天官賜福》曲牌音樂的戲劇演出為研究的中心，選擇符號學與結構主義二說為
理論基礎，因為符號學和結構主義的方法，較能針對曲牌音樂這種涉及複雜符號
系統的操作方式做出解讀。
筆者認為《天官賜福》音樂的研究，首先應將建立在「劇場」亦即以實際演
出為考量的文脈之上，再透過各項演出元素相互作用的方式，來加以觀察。計劃
將從音樂的立基一「劇場」的結構說起，談論戲劇與劇場的定義與內涵，再針對
本文的研究對象做三部分的分析探討。從戲劇文本中的音樂表層內容的物質結構
分析，再進入深層結構內容的關係網絡分析，一一剖析隱藏在劇場文本中的各種
表演符號，將之各種聯繫其中的符號項目經由這兩個分屬不同的層次問的分析討
論，當然最主要將討論其劇場中的音樂符號，並從而進一步分析其在表演過程
中，符號所產生的作用與其作用間的相互連結的脈絡，進而產生音樂與戲劇的連
結與作用，最後將其牽一髮動全身的有機結構關係與產生的意義，做深層的結構
分析，以說明《天官賜福》在此結構中的意義。

關鍵字

北管 ； 扮仙戲 ； 賜福 ； 結構主義 ； 符號學

並列摘要

"Tien-Guan-Sih-fu”is a very popular theater musical drama. Its popularity and
stereotypical representations are wide spread in different ages of theatre music. The
story of the drama, lyric, and its specialized music, make the drama a very famous and
important work in "Bann-Sehn-Xi" and“Kai-Chon-Xi.”
The drama has its very outstanding way on how it tells a story. For instance,
the setup of the story of the "Sih-fu"part would repeatedly illustrates a set and this is
very different than most other dramas at the time．And these illustrations and setup
seem to have a systematic relationship with other lyric in the rest of the drama. The
author will analyze, observe, and restructure these relationships, hoping to identity the
intrinsic systematic style in the drama's seemed empty and vague musical story.
With this, the author will be able to reveal the drama's systematic style and how this
affects the development of this particular musical drama.
The thesis will also use semiology and structuralism to study "Tien-Guan-Sih-fu"'s
Chi-Pai music and proves the drama's semiology and structuralism meanings.
The thesis uses both the Swiss linguist Saussure's study in Semiology and
Structuralism scholar, Claude Levi-Strauss's work in Semiology as the basis to
analyze the drama's musical structure and its relationship to Semiology. Therefore,
this thesis is based and than extended on the work of these two scholars with the
author's own interpretation and theory. The goal is to use these basis to study the
drama's musical system and its relationship with the performing-form's semiological
connections．This will enable the author to further illustrate and discuss the musical
symbols and illustrate the"Bann-Sehn-Xi"'s ceremonial and symbolic differences．The
author further observes these differences’effects in the systematic functions of the
drama and the special style it presents．
The author will explain why she uses Beiguan Music's Bann-Sehn-Xi
"Tien-Guan-Sih-fu.”as the target of study and why she chooses the theories of
semiology and structuralism as the basis to analyze the drama. The author learned that
there are several reputable work in the study of Beiguan Music's Bann-Sehn-Xi by
scholars in this field．However, these are mostly focused on the historical findings and
comparison with other dramas．And these resulted in the construction or
reconstruction of its literature sequences or pure study in the drama's music, without
noting the fact that Chi-Pai music is based on the drama's performance itself.
"Tien-Guan-Sih-fu" differs with most other "Pure Musicals.”Therefore,the author
believes there are areas of studies that still require efforts to further reveal the art of
traditional drama and its intrinsic systematic formation of meanings．And the fact
that the author chooses“Tien-Guan-Sih-fu"as the target of study is based on the
personal appreciation that how"Tien-Guan-Sih-fu"has become so widely known and
performed in the history of traditional musical drama. Furthermore, the author is a
fan in "Tien-Guan-Sih-fu"’s inner story and amazed by the wide spread and reception
among different audiences of this drama. By choosing "Tien-Guan-Sih-fu"as the
center of study and uses semiology and structuralism as the basis of theorical studies,
the author was able to develop a meaningful study in Chi-Pai’s music--which involves
complex symbols and musical systems.
The author believes the study of "Tien-Guan-Sih-fu"'s music should first based on the
"stage" itself. This means the actual performance is the base of any meaningful
analysis．And with this base, we can further connect the other performing elements to
learn their relationship and the effects of manipulating these elements．The plan of
this study is to start from the structure of the stage, discuss the meanings between the
drama and its stage. The plan further gives the thesis itself three segments of studies.
The first will be the analysis of the contents of music itself and the study of its explicit
purpose and meanings. And with this, the author will get into the stage performance's
symbols and this focus will be the key and set the tone for theories of this thesis．By
studying the meanings of these symbols and developing connections with other
elements of the drama further gives proof to the author's theory of the structralism
relationship of the drama---"Tien-Guan-Sih-fu" which is the last segment of this
thesis.

並列關鍵字

none

參考文獻

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