客家外台戲「活戲」表演及其鑼鼓運用

The Performance and the Application of the Percussion Music in the “Improvised” Hakka Outdoor Opera

蔡晏榕(Yen-Jung Tsai)

指導教授 ： 簡秀珍

共同指導教授 ： 鄭榮興(Rom-Shing Cheng)

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(2014年)

https://doi.org/10.6835/TNUA.2014.00152

摘要

「外台戲」一詞廣義來說，可泛指所有於室外演出的戲曲活動；而狹義來說，則專指於戶外廟會酬神戲的戲曲表演及其所形成特殊的「活戲」表演形式。外台酬神戲的「活戲」的表演形式，不經過事先的排練，確立表演內容，而是以戲班中較資深的演員擔任「講戲者」，依照演出故事中各角色的出場順序，概述每台戲的內容，再由前、後場合作以「靈活」的表演手法演出。
演員出台、開唱、身段表演與整體的戲劇節奏等皆受到戲曲鑼鼓的影響，由此可知戲曲鑼鼓在傳統戲曲表演的重要性，古人以：「三分前場，七分後場」表示其重要性。戲曲鑼鼓音樂雖然不似演員立於舞台中央，做為觀眾的主要觀賞重點，卻是整場表演中不可或缺的，好的樂師甚至更能主導全場表演的節奏與氣氛、影響觀眾情緒。
本論文架構，第二章以文獻的蒐集與整理說明客家外台「活戲」表演的發展歷程與現況，第三章透過田野調查將台次（場綱）資料做整理與分析研究，建立「活戲」表演機制下的表演套數與手法，第四章藉由個人多年參與戲曲伴奏觀察學習的經驗，以及與藝師的交流和訪談記錄中，試圖整理與建立客家戲外台鑼鼓的基本運用邏輯與原則，從鑼鼓的內容與運用方式進一步分析討論客家戲鑼鼓與其它劇種的關係，第五章藉由外台表演「站頭」與鑼鼓的運用，說明外台戲鑼鼓如何進行「靈活」運用的展現，並透過「底鼓」的分析說明客家外台鼓師如何吸收融合多種劇種戲曲鑼鼓，進一步轉化形成客家戲曲鑼鼓獨有的表演手法，並探討客家外台鼓師的養成與外台鑼鼓藝術的關係。

關鍵字

客家戲；外台戲；活戲；鑼鼓；戲曲

並列摘要

The term “Outdoor Opera” generally means all kinds of local operas taking place outdoors, but, specifically, it indicates local operas performed to thank gods and the special “Improvised Performance” gradually developed for the occasion. “Improvised Performance” is a way to put up a local opera that is not planned and rehearsed beforehand; instead, a senior actor or actress acts as a “Storyteller,” depicting the general content of the opera according to the entering order of actors and actresses and then the opera is performed in an “Improvised” way.
The percussion music is inseparable from traditional opera when a performance is given. The old saying goes, “The actors’ acting takes up 30% while the band’s playing takes up 70% for the success of a performance.” From the saying, we know how important music playing is in a performance of traditional opera. Although percussion players do not perform at the center of the stage and draw the most attention from the audience, they are indispensable in a performance of traditional opera, placed at the sides to play music for the acting. Good musicians can even dominate the tempo and atmosphere of the performance, influencing the emotions of the audience.
As for the structure of the essay, the first chapter traces the history and the current situation of “Improvised” Hakka outdoor performances through the collected and organized documents. The second chapter arranges and analyzes material collected via field investigations about acting outlines and thus establishes the acting sets and ways of the “Improvised” performance. The third chapter tries to organize and set up the basic logic and principle of using the percussion in an outdoor Hakka opera on the basis of experiences I have had over these years observing musicians playing music in many performances and the interviews and talks I have conducted with musicians. Also, through the musical content and ways to play the percussion, the relationship between the percussion the percussion in Hakka opera and that in other local operas is analyzed and discussed further. The fourth chapter explains how the percussion “improvises” in an outdoor performance via explaining the application of and the percussion in an outdoor performance. Furthermore, through the analysis of percussion music, how the musician playing the small drum integrates playing styles from various local operas and turns them into a unique way to play the percussion in Hakka opera is explained. In the last chapter, he relationship between the cultivation of drum musicians and their arts is further explored.

並列關鍵字

Hakka opera, outdoor performance； improvised performance；percussion； local operas

參考文獻

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