北管新路戲曲與皮黃唱腔之比較 ─
以《三進宮》為例

北管新路與京劇為台灣地區演唱皮黃腔的劇種，兩者的劇目中都有《三進宮》這齣戲。本論文第一章為劇本方面的比較，北管與京劇此齣戲的劇本內容皆相同。劇演龍國太李豔妃母子被李良圍困於皇宮，徐延昭、楊波兩人領兵前來皇宮。懷抱幼子的李豔妃請求兩人留在朝廷保護皇家。不料，兩人先後提出欲辭官告老還鄉，李豔妃隨即哀求並慰留徐、楊，甚而下跪請求兩人扶保幼主，並將楊波封侯，兒女均受祿。於是元老徐延昭、重臣楊波，合力擒斬李良，一場外戚篡逆行為遂得以平息。劇中演出角色行當也相同，皆是以李豔妃-旦、楊波-老生、徐延昭-大花臉的安排演出。第二章為唱腔運用的比較。在北管中，《三進宮》是前唱二黃後唱西皮，二黃的板式有【導板】、【二黃】、【緊板】三種，西皮的板式有【西皮】、【慢刀子】、【緊刀子】，而在京劇中，整齣《二進宮》演唱的都是二黃腔，使用的板式有【二黃慢板】、【二黃散板】、【二黃原板】、【二黃搖板】。第三章則將北管與京劇共同的二黃唱腔部份，做一分析比較。

關鍵字

北管新路；京劇；三進宮；二進宮；皮黃腔

並列摘要

The new style of Beiguan theater music and the music for voices in a Peking opera are two genres of drama in Taiwan where “hsi-pi” and “er-huang” melodies are both applied. Meanwhile, both genres have one play which shares the same plot. The first chapter of this thesis is a comparison of the scripts between the similar plays. The stories of the two scripts are quite the same. The empress dowager Li and her son were trapped and isolated in the palace by a treacherous court official, Li Liang. Hsu Yian-chao, Yang Po both led troops to the palace to raise the siege. The empress dowager, holding her son, implored them for staying at the imperial court and protecting her safety. To her surprise, both Hsu and Yang declined her requests and decided to retire on account of age. The empress dowager knelt on the ground, beseeching them to stay and support the young emperor. She even offered Yang a post as a marquis and promised that his offspring would possess a fortune forever. Therefore, the senior statesman, Hsu, and the most dependable courtier, Yang, cooperated together, arrested the usurper, Li Liang and had him beheaded, thus stamping out a revolt caused by high treason. The characters of both plays are exactly the same: the empress dowager Li --- a female role, Yang Po --- a bearded male role, Hsu Yian-chao --- a male role with a painted face. The second chapter deals with the comparison between the vocal melodies in both plays. In Beiguan theater music, “er-huang” is first applied to “ Three Entering Palace ,” then “his-pi.” The forms of “er-huang” include “dao-ban,” “er-huang,” and “jin-ban,” while those of “hsi-pi” contain “his-pi,” “man-dao-tsi,” and “jin-dao-tsi.” On the other hand, in the Peking opera “ Two Entering Palace ,” all the vocal melodies are purely designed with “er-huang,” inclusive of “man-ban,” “san-ban,” “yuan-ban,” and “yao-ban.” As for the last chapter, the “er-huang” vocal melodies in both plays are analyzed and compared in a logical fashion.