臺灣亂彈戲曲白字化之研究

亂彈戲自清朝中葉傳入臺灣後，便以其在劇壇上的高度與正統性而深受民眾歡迎。日治時期的亂彈戲即有改以臺灣語演出的記錄；戰後台中「新美園北管劇團」、現今羅東「漢陽北管劇團」，在平時的演出幾乎已完全使用白話說白。這種現象，似乎傳達出劇種本身對於大環境不得不然的主/被動選擇。臺灣亂彈戲的白字化，日治時期至今已超過60年，是觀看戲曲表演時相當自然且習慣的一部份，但在學術研究中少被探究。「劇種白字化」為何能夠獲取如此龐大的商機？最大的原因在於語言的可親性。白字化之演變進程，由於「地方意識的覺醒」及「商業利益的影響」而有所演變。本論文以日治、戰後及當代三個歷史段落為範圍，選擇跨越兩個時空以上、相同劇目的亂彈戲有聲資料為研究題材，並以戲曲劇種的白字化為切入視角，試圖觀照戲曲劇種適應環境所因應的變異性，即「劇種語言」在地化的現象。臺灣亂彈戲與其他瀕危劇種一樣，都面臨著娛樂功能消失的困境，亂彈戲面對此一困境，唯一的手法僅有改變語言，但這只是治標不治本的作法，因為改變語言是由外而內，不是由內而外的深化再釋放。面對這些瀕危劇種，必須要認清它過去在民眾情感記憶的位置，並體認到「娛樂」與「保存」無法兼顧的情況，從而做出適宜於戲曲發展的方法。

關鍵字

亂彈戲；劇種白字化；白字戲

並列摘要

With its highly legitimacy among dramas, Luan-tan Opera has been widely embraced by Taiwanese people since it was spread to this island from Qing Dynasty middle period. Existing over 60years since Japanese Colonial Period, the vernacularizing of Taiwaness Luan-tan Opera has become a natural and a habitual portion to the local residents when they attend to a theatrical performance, yet the number of the academic study in this field is fairly small. The record of Luan-tan Opera performed by Taiwanese language dates back to Japanese Colonial Period; troupes from the “Xin-mei-yuan beiguan Group” in Tauchung during Post-hostilities Period to the contemporary “Hanyang beiguan Group” stage their plays by the lines that mostly written in the vernacular. The phenomenon that those troupes actively/passively used the vernacular in their usual performance seems to imply their compromise to the environment. The biggest reason why adopting vernacular brings the very big opportunity lies in the tangibility of language itself. On the other hand, the evolution of vernacular comes under the localism awakening and the business advantage influence. The present paper falls within the scope of three historical phases, Japanese Colonial Period, Post-hostilities Period and contemporary relevance; it takes diachronic Luan-tan Opera audio materials in the same play for the research theme, cuts into the angle with vernacularism, attempts to observe the varieties of language changing while these troupes were trying to fit in the environment. These varieties are, namely, the phenomenon of drama language localization. Taiwaness Luan-tan Opera, like some other vanished ones, is facing the difficulty of losing its entertaining function, the only way to reverse it is to change the drama language; however, it’s just a temporary cure for language should be changed from the outside to the inside, rather than from the deep inside and then release it out. To help them, we need to make a resolution which is feasible for their future development by relocating the position it was in public’s memory and by realizing the fact that entertainment and preservation can’t be given dual attention.

並列關鍵字

Vernacularization of ju zhong ； Baizi opera ； Taiwaness Luan-tan Opera

參考文獻

《臺灣歌仔戲的發展與變遷》　台北市：聯經出版社，1988

周以謙　《北管音樂藝人莊進才生命史研究》　台北市：國立台北藝術大學音樂學系碩士在職專班碩士論文，2008

石婉舜　＜「黑暗時期」顯影」：「皇民化運動」下的臺灣戲劇（1936.9~1940.11）＞　《民俗曲藝》159　2008.3　頁7-81

林永昌　＜臺灣白字戲初探＞　《臺灣民俗藝術彙刊》4　2008.9　頁88-126

中國戲曲志編輯委員會　

國際替代計量

臺灣亂彈戲曲白字化之研究

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