江黑番布袋戲口頭文學研究

黑番，本名江欽饒，出生於1958年，是「江黑番掌中劇團」團主。他自幼從廣播自學布袋戲，及長拜師「閣派」的鄭武雄，學習金剛戲及笑詼劇的技巧，後又跟著漢學先生學習十五音，並鑽研古典章回小說，編演古冊戲。黑番能靈活運用套語，穿插笑詼劇於戲劇段落中，信手拈來即能演出一齣受歡迎的活戲。除一般外台民戲及文化場演出外，他也曾自行錄製戲劇節目在廣播電台播出。2003年起，黑番開始製作及販售布袋戲錄音，並參與「講古」的表演。透過本研究，可瞭解布袋戲處於現今社會生活的真實面貌，可明白民間藝術工作者如何透過廣播媒體及錄音帶市場擴大藝術影響力。藉著分析研究黑番的笑詼戲，以瞭解他如何活用套語，並從生活體驗、俗諺、孽譎仔話、方音差中取材即興創作，將對日益失落的母語，及以母語演出的布袋戲編劇技巧有所幫助。這些真實口白表演文本，將可培養讀者更豐富多元的文學造詣，並提供文學史上相當空白的母語戲劇文本。

關鍵字

套語；笑詼劇；表演文本；口頭文學

並列摘要

The Puppeteer Kang O͘-hoan, whose birth name was Kang Khim-jîau, was born in 1958. Kang O͘-hoan learnt the art of glove puppetry from radio broadcasts, as well as from Tēⁿ Bú-hîong, who himself is a long-time apprentice of various puppet troupes. Kang learnt the method of traditional pronunciation through the book Lui-im Po-kam, and studied how to act out the ancient classics.With much flexibility in the use of “formula” of puppeteer’s oral performance, Kang O͘-hoan was able to skillfully insert comedic themes of saⁿ-hoe into his dramas, and improvise performances with great popularity at any instant. Furthermore, he also recorded his works to broadcast. In 2003, Kang O͘-hoan started producing his tape recordings of his puppet drama, and partook in story-telling performances. By my study, we can understand the form of existence it takes in our modern era, and have a greater appreciation of how folk art workers leverage on broadcast media as well as the tape market to spread the influence of this art form.By Kang O͘-hoan’s comedic dramas and analyzing his eloquence and flexibility in the use of the “formula” of puppeteer’s oral performance, and how he improvised his performances through the use of life experiences, proverbs, regional pronunciation differences in Taiwanese , we will be able to gain insight into the possibility of preventing the disappearance of the mother tongue of the majority of Taiwanese, and also the disappearance of this art. The actual performance scripts provided in his works are invaluable in cultivating literary knowledge in readers, and are able to fill a blank in the field of literature where scripts written in Taiwanese were almost non-existent in the history of literature.