正明龍歌劇團兒童歌仔戲之研究

王晶瑩(Wang Ching-Ying)

指導教授 ： 江寶釵

國立中正大學/文學院/台灣文學與創意應用研究所/碩士(2013年)

摘要

臺灣歌仔戲的特色之一，是不斷吸收其他劇種的長處，這也是臺灣歌仔戲多元且富於生命力的表徵。隨著社會環境的變遷，娛樂多元化，使得歌仔戲團的經營正面臨著客群的急遽減少的挑戰，儘管在文化政策的提倡下，看似蓬勃發展，卻岌岌可危。如何開發新客群就成為延續歌仔戲文化必須面對的課題，這也正是兒童歌仔戲出現的背景。嘉義正明龍歌劇團也推出創新兒童歌仔戲，編寫劇本「」，出演三次，獲得相當熱烈的回響。本文因而藉由深入訪談，觀看演出後，以其劇本的寫作，演出的特色，以及二者在劇團經營中所扮演的角色，作為研究的議題，旨在探討歌仔戲在當代臺灣文化環境中的興微，如何以更豐富多元的可能性出現在我們生活的場域中，並獲得適當的保存與傳承。同時，本文亦對於正明龍的現狀提出若干建言。對於有志於研究地方劇團經營、轉型之良窳成敗者，本文或可以提供若干借鑒。

關鍵字

正明龍歌劇團 ； 歌仔戲 ； 兒童歌仔戲

並列摘要

Ever since its beginning, Taiwanese opera has been absorbing prominent features of different types of drama, reflecting its diversity and vibrant tolerance. As the society changes, and entertainment becomes more diverse than ever, the seemingly prosperous existence of distinctively “Taiwanese” opera is threatened. It faces many challenges in modern society, such as the ever decreasing audience. To survive, it needs to be able to attract new audience. The children’s opera by Cheng-Ming-Lung Taiwanese Opera Company brought Taiwanese opera back into the public sphere, along with its cultural diversity and possibilities. Through its performance, children’s opera both passes down and cultivates future generations of Taiwanese opera lovers, preserving a culture that would otherwise wither away.
This study first looks back on the research done by previous scholars and related historic materials, and focuses on the development of traditional Taiwanese opera; then compares it with the current development of children’s Taiwanese opera. Further, using Cheng-Ming-Lung Taiwanese Opera Company as an example, the essay inquires into the company leader and the playwrights’ ideals behind opera creation and with the help of interviews, gains an insight into the gradual process and development of the company’s production of children’s opera. In addition, a survey of elementary students’ response to the performance helps us understand children’s acceptance and appreciation of the plays.

參考文獻

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曾永義著，《臺灣歌仔戲的發展與變遷》（臺灣研究叢刊；一二）（台北：聯經出版事業公司，1988）。

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