外臺歌仔戲唱唸即興創作機制──以「四句聯」為主要探討對象

Mechanism of Oral Improvisation of Outdoor Performances of Kua-á-hì:Focus on “Four-Line Verses”

余宗翰(Tzung-Han Yu)

指導教授 ： 簡秀珍

國立臺北藝術大學/戲劇學院學術論文/戲劇學系碩士班/碩士(2015年)

https://doi.org/10.6835/TNUA.2015.00128

摘要

歌仔戲發展至今已超過百年，出現不同的表演形式，為了應付大量演出所需，通常不使用事先寫定的劇本，而採用「講戲」的方式即興完成演出，藝人們將這種即興發揮的表演方式稱為「做活戲」。內臺與外臺的歌仔戲都曾廣泛運用「做活戲」來完成演出，可見這是成熟的歌仔戲演員必須掌握的表演技巧。
「活戲」的表演形態要求演員必須要有深厚的「腹內」。「腹內」的定義人言各異，但都包含演員臨場編創「四句聯」和「唱詞」的功力，本論文即針對「四句聯」與「唱詞」的即興創作機制進行研究，除筆者以歌仔戲演員的身分，長年參與觀察的省思與實踐外，也透過訪問老、中、青不同年齡層的演員，探究其學戲背景，分析出其創作機制的養成，再從分析演員演出時使用的四句聯與唱詞，了解其即興創作的的原則與技巧。
研究中可知，演員從長期演出實踐中吸收與累積經驗，表演的相關材料逐日貯存在頭腦的資料庫裡，到了演出需要使用時，便能夠快速搜尋到適合的文字或詞彙，並精準的排列組合來呈現。「四句聯」與「唱詞」的即興創作需要長時間的累積、練習、運用與修正，無法完全以文字傳授，必須要大量的口傳心授，但外臺以活戲演出歌仔戲的演出機會逐漸縮減，演員缺少鍛鍊的機會，加上願意投身當職業演員的年輕人不多，因此它的傳承更是難上加難。本論文兼顧學術研究與實踐運用，在剖析出歌仔戲的即興創作機制的規則後，也希望日後能做為外台歌仔戲演員實踐上的參考。

關鍵字

外台歌仔戲 ； 活戲 ； 即興創作 ； 四句聯 ； 歌詞

並列摘要

Kua-á-hì has developed for over one hundred years, and there are a variety of performing styles. For meeting the need to act constantly, plays are not fixed before the performance, and are improvised on-stage via “oral instructions”(done by oral narrators). Performers call this acting style “tsoh-ua̍h-hì”(improvisational performances). Both indoor and outdoor performances of Kua-á-hì used to perform through “tsoh-ua̍h-hì”. Therefore, a mature actor or actress of Kua-a-hi has to master this style.
To perform through the improvisational acting style, the actor or actress needs to be good at the skill of “pak-lai”. The term“pak-lai”has various definitions, but they all include the ability to improvise four-line verses and song lyrics. And, this thesis focuses on the mechanism of improvisation for four-line verses and song lyrics. Besides reflections and experiences gained as an improvisation actor over many years, the author also interviewed actors and actresses from different age groups, exploring their background in learning Kua-a-hi and analyzing how their improvisation skills were cultivated. Based on the analysis of the four-line verses and song lyrics improvised on-stage by these actors and actresses, the principles and skills of the improvisational acting style are understood.
It is known through this study that actors and actresses accumulate performing experiences and store in their mind the performing material, and they can quickly find in their mind those verses and lyrics needed in their next performance and present them in proper combinations. It takes a long time to accumulate, practice, use and revise the four-line verses and song lyrics; therefore, the skill to improvise them cannot be acquired merely through reading books. It takes large numbers of oral instructions instead. However, the chance for outdoor improvisational performances is diminishing; as a result, actors and actresses lack the opportunities to perform improvisationally. Furthermore, there aren’t as many young people who are willing to join in this profession, which makes it even more difficult to pass on to the next generation. This thesis emphasizes not only the academic research but also the application. It is hoped that the analysis of the principles behind the improvisation mechanism will become a useful reference for future Outdoor Kua-a-hi’s actors and actresses when they learn to act.

並列關鍵字

outdoor performances of Kua-&aacute ； -h&igrave ； ua̍h-h&igrave ； (improvisational performances) ； improvisation ； four-line verses ； song lyrics

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