「金枝演社」新探（1993-2013）： 臺灣現代劇場的另類美學

A New Study of The Golden Bough Theatre,1993-2013: The Alternative Aesthetic of Taiwan Modern Theatre

鄭百佑(Pai-yu Cheng)

指導教授 ： 汪詩珮

國立中正大學/文學院/中國文學系/碩士(2013年)

摘要

創立於1993年的「金枝演社」，在20年的穩定發展中見到由小劇團邁向中、大型劇團的歷程，汲取歌仔戲的「胡撇仔」運用至臺灣現代劇場，創造獨特另類的劇場美學。本文以「劇場文獻學」與「再思考」的角度，期望梳理豐富全面的文獻資料，並且提供不同的詮釋角度觀看金枝演社。著重於金枝演社自我建構的兩大商標「胡撇仔」與「台客」，探索金枝演社轉化兩者的內涵，從中觀察金枝演社的「胡撇仔戲」面對成長所發生的延續、轉型與開創，進一步點出其所遭遇的考驗與挑戰。

　　本文將金枝演社的戲劇作品分為「身體訓練和戲劇實驗」、「環境劇場」、「胡撇仔戲」、「本土臺式歌舞劇」四大類，首先以文獻回顧的方式建立初步的認識與理解。第二章鎖定「胡撇仔戲」作品，透過「胡撇仔」與「台客」的理論重建，進行反思與提問，總結於具有開創意義的《大國民進行曲》。第三章聚焦於2011年的全新創作《黃金海賊王》，因其風格、元素皆取材動漫，遂由日本流行漫畫《航海王》談起，發覺金枝演社的表演美學面對流行文化的力有未逮。其「胡撇仔」與「台客」的美學精神產生「理念先行」的侷限，提出「說故事」是金枝演社深化自身美學必須思考的方向。

　　最後，連結現實環境，將臺灣「扶植團隊」政策納入討論，作為理解金枝演社缺憾的原因之一。「再思考」也連結到「自我省視」，由自身的創作經驗體會「生命與藝術是長期而持續的累積」；期許復現「大眾劇場」又具有濃厚「臺灣關懷」的金枝演社，能夠在更多的觀眾注目下，從「發現臺灣」、「看見臺灣」邁向「創造臺灣」，揚起屬於己身主體性的旗幟，堅持於臺灣現代劇場的未完之徑。

關鍵字

說故事 ； 台客美學 ； 胡撇仔 ； 金枝演社

並列摘要

Established in 1993, The Golden Bough Theatre has steadily developed from a small troupe to a quite sizable one in the past 20 years. They applied O-pei-la from Taiwanese Opera to Taiwan Modern Theatre, giving a one-of-a-kind aesthetic perception. By collating various documents, this thesis is written to provide a different way to understand The Golden Bough Theatre through the perspective of “Theatre Philology “ and “Re-thinking”. This subject emphasizes on The Golden Bough Theatre’s two signatures - “O-pei-la” and “Taike” ; going along with the article, we will discover how The Golden Bough Theatre interpret the two ideas in a whole new way, observe the transformation and innovation brought by the development of “O-pei-la”, and finally point out the challenges they’ve encountered.

The Golden Bough Theatre’s dramas are assorted into 4 categories, ”body training and drama experiment”, “environmental theater”, “O-pei-la”, and ”Taiwanese local Musical”. In chapter 2, through the rebuild of the theory of “O-pei-la” and “Taike”, reflection and questions are brought up, and then it is concluded with Sayonara 1945 representing their starting point. Next, it focuses on their new creation - Pirates and Formosa in chapter 3. As Pirates and Formosa is full of Japanese manga style and animation elements, chapter 3 begins with Japanese popular manga - One Piece, but then we see that the performing style of The Golden Bough Theatre shows its limitation while encountering pop culture. Their aesthetic concept of “O-pei-la” and “Taike” generates the restriction of “concept first”, therefore it is critical for The Golden Bough Theatre to “Storytelling” so that their aesthetic can be elevated to a higher level.

Finally, “supporting troupe” policy is brought into our discussion to elaborate the regret of The Golden Bough Theatre. Also, Re-thinking is connected to my self-reflection; based on my own writing experience, I realized that life and art requires a long and continuous accumulation; therefore I expect The Golden Bough Theatre which again brings us “The public theater” and cares about Taiwanese culture a lot can improve themselves from “discovering and seeing Taiwan” to “creating Taiwan”, rising up their flag and keeping walking on the yet ended trail of Taiwan Modern Theatre.

並列關鍵字

Storytelling ； O-pei-la ； Taike aesthetics ； The Golden Bough Theatre

參考文獻

徐亞湘：《日治時期臺灣戲曲史論》，臺北：南天，2006年。

曾永義：《臺灣歌仔戲的發展與變遷》，臺北：聯經，1988年。

楊馥菱：《臺灣歌仔戲史》，臺北：晨星，2002年。

葉子華：「金枝演社的胡撇仔美學」，臺北：臺北藝術大學戲劇學系碩士班碩士論文，2010年。

廖若涵：「後殖民情境下的坎普美學與懷舊政治：分析黃香蓮獨角戲《羅密歐與茱麗葉》及金枝演社《羅密歐與茱麗葉》」，臺北：臺灣大學戲劇研究所碩士論文，2011年。