蔡怡君畢業音樂會詮釋報告—
北管古路戲曲《藥茶記》之分析與詮釋

北管古路戲曲全本《藥茶記》共有十個唱腔，而「八支交椅—蔡怡君畢業音樂會」所演出的《藥茶記》選段，則選取了其中的六個唱腔來呈現，包括【彩板】、【流水】、【緊板】、【緊中慢】、【反流水】、【緊流水】。本文一開始先講述該音樂會的創作歷程，說明演出內容如何籌劃，包括《藥茶記》的表演形式。其次，引出該劇的文本探討，將北管戲與川劇、京劇、柳子戲、紹興戲進行本事方面的比較，並論述《藥茶記》與《藥茶計》兩種用法的傳抄來源。接著進入此詮釋報告的重心，討論這六個唱腔在該音樂會中的詮釋方法，根據節奏將其分成「定板唱腔」與「非定板唱腔」兩類，便於對照，並佐以各唱腔的譜例（莊進才藝師的版本），以說明分析之法。

關鍵字

【彩板】；【流水】；【緊板】；【緊中慢】；【反流水】；【緊流水】

並列摘要

The script of Yaochaji (藥茶記 a well known Beiguan play) includes ten melo-metric tunes (唱腔) which are rendered in the Guluxi (古路戲, the old style theater) of Beiguan theater music in Taiwan. In my graduation concert, six of the ten melo-metric tunes from selected scenes were presented: Caiban (彩板), Liushui (流水), Jinban (緊板), Jinzhongman (緊中慢), Fanliushui (反流水), Jinliushui (緊流水). According to this concert, this paper describes the process of organizing this concert, the ideology, and the description of performance styles. Moreover, comparison and analysis of the script with some regional theaters in China, for instance, Sichuan opera (川劇), Beijing opera (京劇), Liuzi opera (柳子戲), Shaoxing opera (紹興戲) will help to understand the different interpretation of this play. This paper also discusses the use of different words in the titles, based on their original scripts. Furthermore, the six tunes rendered in my concert are divided into two categories, metered and unmetered, to illustrate the different styles. Following Beiguan master Chuang Chin-tsai’s (莊進才) transmission, the six tunes are transcribed into cipher notation and attached to this paper in order to illustrate the methodology of analyses.