「胡撇仔」是臺灣歌仔戲一個特殊的表演類型,其混雜的形式、通俗的趣味、新創的精神,展現出驚人的彈性與活力,得以吸收日本時代劇、歌舞劇、中國戲曲、新劇、西方電影等多方元素,卻又在在體現了屬於臺灣歌仔戲獨一無二的在地特色。 本文試圖從諸多細節中建立脈絡,對「胡撇仔」發展做一歷史性的梳理,並比對不同時空階段「胡撇仔」的轉變,使得有關「胡撇仔」的認知概念不再是一模糊的整體,而是一能拆解出更多層次及差異的特殊表演類型。在前行研究的田野廣度之外,更強化史觀的深度,開展出更具時間縱深的視角,以及「胡撇仔」藝術位階轉變背後的文化場域變遷,進而思索「胡撇仔」的意義,其交混的表演方式為新創劇目提供了什麼經驗,而這些新創劇目的走向,又為歌仔戲提示了什麼發展的可能。
Taiwanese “O-pei-la”is an unique type of performance in Taiwanese opera, showing vitality through its hybrid forms, popular themes, and innovation. It not only adapts from Chinese opera, Jidaugeki (Japanese historical drama), New drama, as well as western films, but also embodies the local spirit of Taiwanese Opera. This thesis tries to sort out the diachronic development of Taiwanese O-pei-la, and also make synchronic comparison through its several transformations. With its progress and phasal characteristics, the concept of “O-pei-la” is no longer vague; instead, it can be seen as an unique performing type with great variety. Besides the archive and field work, the historical points of view is emphasized in this thesis, so as to open up a broader horizon and to see the transformation of the cultural fields behind the hierarchy of art. In this way, we can try to figure out the meaning of Taiwanese “O-pei-la”, and what its hybrid performance can bring to the new plays, as well as how these new plays will contribute to the development of Taiwanese Opera.
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