無技不成戲－試析幾齣傳統戲曲的特技絕活

在歷代劇作的積累與長期的舞臺實踐中，藝人們不斷地創發出各種戲曲程式而予以積澱規範，甚而從「百戲雜技」中錘鍊衍生出各色的「戲曲特技」來號招觀衆。這些「特殊表演技法」通常是技術性很强的高難度表演動作，為「異乎尋常」程式的奇特絕活，或是透過頭手身足等軀幹形體的四肢運用，或是經由眼耳鼻眉等面部表情的妝扮誇張，或是倚靠帽袖靴鞋等服飾行頭的穿戴借助，以及藉由椅梯竿索等砌末道具的聲光利用等方式，以「戲不離技、技不離戲」持戲合一的手法，作為刻劃人物性格、塑造角色形象、强化戲劇張力、烘托舞臺氛圍與調劑劇情關目等藝術手段，而演化成為戲齣中引人入勝的演出亮點；甚或鑽研為藝人的「專屬技藝」，蛻變發展出「技藝劇」的劇藝類型，儼然成為戲齣的主體重心所在。文中透過《鬧天宮》、《九更天》、《時遷偷鶏》、《九龍杯》、《三上吊》與《頂燈》等幾齣傳統戲為例，試析戲曲特技在戲齣中的應用情况，以及其與雜技的關係脈絡暨炫目多姿的表演樣式。

關鍵字

戲曲特技；中國戲曲；雜技；目連戲；百戲競陳

並列摘要

In their long history of stage performance and saturation in histrionic works, performers have in the course created and developed various manners of theatrical sedimentation and regulation for the generation of theatrical acrobatics inducted from this tradition of stage vaudeville as a means of inducement for the audience. These specialized acrobatic manners are usually difficult, highly technical ways of performances bordering on the spectacular. They often employ the body movement of the head and the limbs, the exaggerated expressions of the visage, combined with specially designed raiment and other props [such as chairs, ladders, sticks and ropes] and stage sound and light effects to live up to the ideal that the drama and the crafts are one and should never part.' For the joint effort of these manners have been conducive to the modeling of characters, the forming of roles, the deepening of theatrical dynamics, the brewing of stage atmosphere, the phasing of plots and subheadings, to even become the focal points of attention in a drama or further turning to be a specific feat' of a certain actor, and eventually rendering the drama into a style apropos of this particular endeavor and become a pivotal attraction. This article tries to explore the application of acrobatics in various traditional plays such as Meddling with the Heavenly Palace', the Sky Cloud Nine', a Chicken Stolen and the Shift of Time', the Cup of Nine Dragon', Suspended Three Times', and Head Lamps' with mentioning of its relation to vaudeville and its multi-faceted forms of performances.