吳素霞七腳戲表演理念探析

本論文研究目的有二，一是藉由臺灣七腳戲藝師吳素霞的表演理念，留下屬於此劇種的表演技藝之祕訣，以供後繼者習藝之參考；另一是七腳戲向被視為南戲的活化石，藉由吳素霞這位表演者活化此戲曲傳統之祕訣，應可進一步探討戲曲發展史上的諸多疑點，例如傳統戲曲的表演體例為什麼採風格化、程式化的歌、舞、白共時形式？為什麼在理應力求清晰的舞臺上，傳統戲曲演唱時卻將一個字拆成難以立即辨識的字頭、字腹、字尾？為什麼南戲系統的劇種常有以「囉哩嗹」咒淨台、或在劇情中插入一段囉哩嗹和聲的情形?為什麼傳統戲曲的結局幾乎是大團圓？有關上述傳統戲曲劇場的課題，必須從表演面向切入探討，因此需要一套適合表演本身的方法論，才能像一把鑰匙一般，從一位活生生的表演者身上(而不是案上劇本)得到解答。傳統戲曲的起源及成熟與儺、唐戲弄、變文、講唱、諸宮調有關，與佛教、道教的儀式亦有相當密切的關係。但若就「表演」本身來看，合歌舞以演故事的共時表演結構，與密教儀軌的身語意三密結構，顯然有著高度的相似性。密教在唐代盛行，因此至遲在唐代，人們就已知悉這種身語意共時結構的表演形式，對於後世戲曲體例之形成，當曾有過一定程度的啟發。因此本論文擬以身語意三密結構做為研究方法與架構，檢視被七腳戲其表演結構中的形式與精神。吳素霞所傳承的七腳戲既被視為保留南戲遺存的古老劇種，藉由她的七腳戲表演理念之探討，或許可以一定程度地回應上述的提問。

關鍵字

吳素霞；七腳戲(七子戲、七子班、小梨園) ；戲神咒囉哩嗹；密教身語意三密；戲曲體例；戲曲方法論

並列摘要

There are two goals of the thesis. One is to record the secrets of performance of an excellent actress of Chinese classical theatre. Hopefully it will help the successors improve their skills. The other one is to survey the origin of the Chinese drama through the viewpoints of an living actor. For Example, why do the actors perform the songs, gestures and dialogue at the same time in the stylish way? Why do they seperatet the pronunciation of each Chinese character into three parts when they were singing the lyrics? Why do they use Lo-Li-Lien mantra to purify the space of theater and honor the god of Theatre? Why are there no tragedies in the Chinese drama? The origin of Chinese theatre is still a mystery. Many scholars agree the influence of the India classical theater to some extent. However, it is a pity that there is no direct evidence to support the hypothesis till now. But no later than Tang Dynasty, people should have been familiar with the performing form of Esoteric Buddhism(Vajrayāna)’s ritual, which was disseminated to ancient China from India. The performing factors of the ritual are called “Three Secrets”which refers to body(mudrā), mouth(mantra)and mind(meditation). Obviously the performing structure of the synchronic presentation of the three factors should have had influenced the form/content of the Chinese classical theatre. The theatre Wu Su Xia masters is called Tsit4-Kio-Hi3, which is considered one of the living fossils of the oldest drama of China. Since it is considered to preserve some factors of ancient Chinese theatre, and both the Esoteric Buddhism and Chinese classical theatre has common in the performing structures, the thesis try to use the three-secret-structure as the research frame to study Wu’s performing viewpoints. Maybe in this way we could find out some clues to the origin of Chinese classical theatre.

並列關鍵字

Wu Su Xia ； Tsit4-Kio-Hi3 ； The mantra of the god of the theatre Lo-Li-Lien(囉哩嗹) ； the three secrets of Esoteric Buddhism(body, mouth and mind or mudrā, mantra and meditation) ； the origin of the Chinese Classical Theatre ； methodology of the Chinese classical theatre

參考文獻

李豐楙。1993。〈由常入非常﹕中國節日慶典中的狂文化〉，《中外文學》22(3)。

康尹貞。2006。《梨園戲與宋元戲文劇目之比較研究》。臺灣大學中文研究所碩士論文。

楊慎(明)。1971。《詩品》，《升庵外集》(六)。臺北：臺灣學生書局印行。

尤金諾•芭芭、尼可拉•沙瓦里斯著(Eugenio Barba & Nicola Savarese) ，丁凡譯。2012。《劇場人類學辭典：表演者的秘藝》。臺北：國立臺北藝術大學、書林出版社

伊利亞德 (Eliade, Mircea, 1907- )著，楊素娥譯。2000。《聖與俗－－宗教的本質》。臺北：桂冠出版

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吳素霞七腳戲表演理念探析

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