論臺灣布袋戲《五龍十八俠》－以劉祥瑞有聲戲劇作品為例

On the Taiwan puppet "wulong eighteen man" - a case study of Liu Xiangrui sound dramatic works

陳進安(Chin-An Chen)

指導教授 ： 林鋒雄 ； 王國良

國立臺北大學/人文學院/民俗藝術與文化資產研究所/碩士(2016年)

摘要

臺灣布袋戲中的「劍俠戲」，風行於戰後「商業劇場」售票演出，其中「劍俠戲」有別傳統「古冊戲」戲偶的武打套路，大量製作使用飛刀、飛劍、金光五色布及各樣持杖式的螢光彩繪道具，配合霓虹燈光效果，加上後場中西方樂器的融合演奏產生飛刀、飛劍、放寶、鬥寶的特定音樂的音樂，演出多為俠義小說中的江湖能人或劍仙，御劍飛行，神仙下凡，仙魔鬥法幫助按君欽差查辦反王、平定叛亂、大破邪陣、機關樓等。以剷奸除惡的戲劇內容，來滿足觀眾當時新穎視覺欣賞。

而「劍俠戲」劇目的保存與流傳，主力仍是偏重在於民間戲劇藝人自力自發的行為，欲得知瞭解詳細內容，仍是需取之於田野，相較現今重視文化資產的意識抬頭，身為當代研究者有必要對尚未建立文獻的戲劇史料，進一步研究撰寫以供後代研究者參著查閱，該戲劇較完整性的內容面貌。

本篇研究論文，擇取劍俠布袋戲當中《五龍十八俠》劇目，做為主要的研究方向，並以大台員掌中劇團劉祥瑞所製錄《五龍十八俠》有聲戲劇帶，為主要的解析素材，輔以其他民間戲劇人所記錄的有聲戲劇；透過有聲戲劇資料文獻化，一窺該劇目所呈現的戲劇故事內容，編排架構、人物塑造。並且就筆者於田野調查，所觀察到的野臺劇場實務面貌，例如：專業性的行規習俗也及配備影響演出的面向，來剖析該戲劇形成的可能因素，與其存在的以效價值。筆者 期許在論文的完成，得使有戲劇欣賞嗜好，或戲劇從業相關年青人，由筆者在田野調所發現的觀察成果，獲得實用性的參考價值，為臺灣布袋戲的傳承與保存略棉薄之力。

關鍵字

五龍十八俠 ； 劍俠戲 ； 布袋戲

並列摘要

Taiwanese puppetry in Swordsman drama popular in the post-war "commercial theater" ticket performances, where "JX play" do not have the traditional "old book drama" puppet martial arts routine, and mass-produced using " keepsake "knife, Feijian, golden colored cloth and all kinds of support rod fluorescent colored props style, with neon light effect, plus the backcourt playing Western instruments to produce fusion knife, Feijian, put Po, Po bucket specific music music performances, mostly in rivers and lakes chivalric novel or capable Sword, Sword flight, angels, magic fairy battle of wits help by investigating anti-imperial monarch king, put down the rebellion, broken evil array, buildings and other organs. To shovel rape crime drama was content to meet audience to appreciate the visual novel.
And "JX Opera" repertoire preservation and spread, it is still the main emphasis lies in self-spontaneous folk theater artists act, want to know more details still need to be taken from the field, as compared to today's contemporary research awareness of the importance of cultural assets rise as for those who have not yet established the necessary documents for further study historical drama written for future researchers to consult with the Senate than the integrity of the content of the drama look.
Benpian research papers choose to take the puppet swordsman among "Wulong eighteen Man" plays as the main direction of the study and made a large desk staff Puppet Theater, Mr. Liu Xiangrui recorded by the system of "Wulong eighteen Man" play with sound as the main analytical material supplemented by other folk theater people recorded sound plays through audio drama data documentation of, a glimpse of dramatic story of the repertoire presented, layout structure, characterization, and to the author observed in fieldwork to the outdoor stage theater practice face, such as professional etiquette practices also affect performance oriented and equipped to analyze in order to effect the value of the factors that may play into line with their presence. I also expect to complete in the paper, such that the theater to enjoy hobbies, or theater practitioners related to young people to get the results of the author in the field by the observation adjusted found practical reference value for the Taiwanese puppetry heritage and save a little thin cotton force.

並列關鍵字

Wulong eighteen Man ； drama swordsman ； puppetry

參考文獻

2003，林明德，《阮註定是搬戲的命》，（時報文化出版企業股份有限公司，2003.06.23）

2006，陳龍廷，＜臺灣布袋戲的口頭文學＞，成功大學臺灣文學研究所博士論文呂興昌指導2006.5.28。

2010，巫裕雄，南投新世界陳俊然布袋戲「南俠」之研究-以《南俠(沒價值的老人)》為研究對象，國立台北大學民俗藝術研究所碩士論文林鋒雄教授指導。

2012，黃偉嘉，閣派布袋戲陳身池系統真興閣之研究，國立台北大學民俗藝術研究所碩士論文林鋒雄教授指導。

1923，武進史長嘯，劍仙小說《五龍十八俠》初集，上海鍊石書局印行。