台灣北管戲曲的禁忌與習俗

Taboos and Customs of Taiwan’s Pak-Kuán Theater

黃勃翰(Bo-Ham Huang)

指導教授 ： 簡秀珍

國立臺北藝術大學/文化資源學院學術論文/建築與文化資產研究所/碩士(2015年)

https://doi.org/10.6835/TNUA.2015.00007

摘要

中國各類劇種長久下來皆會產生需恪守的行規、禁忌、習俗等，造成的原因可能與其劇種內涵有關，或者受地方人文背景等方面的影響。北管在傳入台灣一百多年後，當然衍生繁多的禁忌與習俗，筆者在參加北管子弟團的過程中，常聽到長輩或同儕間談及「氣口」這個名詞，此概念包含規矩、習俗、禁忌等規範，只有去了解及遵守，才被認同為「北管子弟」。
台灣北管音樂除了透過亂彈戲劇演出呈現外，被廣泛應用於歌仔戲、布袋戲、傀儡戲、客家戲、儀式後場伴奏等不同的劇種及型態。本文設定亂彈戲班、子弟團、北管布袋戲、北部傀儡戲、儀式後場作為主要的研究對象，且將所集結到的禁忌、習俗依照其性質分類，並討論衍生出的因素，
另一方面採取田野訪談及自身參與經驗輔以印證和補充文獻資料。
從分類的資料中可歸納出宗教信仰、自我恐懼心理的投射、社交網絡三種形成因素，由於研究對象的組織型態有營利與業餘兩種性質，其中營利性質多與自我恐懼心理的投射形成因素有關，業餘則是側重於社交網絡的因素。此外，北管布袋戲、北部傀儡戲、儀式後場的成員大部分皆出身於子弟團，禁忌及習俗經由此途徑的關係影響著其他劇種。在本文的研究過程中，許多禁忌、習俗已逐漸消失或改變，導致無法深入討論背後意涵，更加證明此課題研究的必要及急迫性。

關鍵字

北管戲曲；禁忌；習俗；戲班；子弟團

並列摘要

The development of all theatrical types in China over thousands of years has brought about various regulations, taboos and customs, the causes of which depend on the theatrical type and the influence of local culture. Likewise, numerous taboos and customs have been developed after Pak-Kuán spread into Taiwan. Since I joined the Pak-Kuán amateur group, I have often heard peers or the elderlies mention the term “khuì-kháu,”whose meanings include regulations, customs, and taboos, and only those who understand and follow them are regarded as “Pak-Kuán amateurs.”

Taiwan’s Pak-Kuán music, in addition to being presented in the Lān-thân Theater, is applied in Kua-á-hì(Taiwanese opera), glove puppetry, string-puppet drama, Hakka drama, and Pak-Kuán music accompaniment for rituals, etc. This thesis aims at studies on Lān-thân theater groups, Pak-Kuán amateur groups, Pak-Kuán glove puppetry, string-puppet drama in the north, and Pak-Kuán music accompaniment for rituals. The taboos and customs collected are categorized according to their different qualities and factors for the formation of these taboos and customs are also discussed. Furthermore, fieldwork interviews and personal experiences are added as evidence and supplementary material.

From the material that has been collected and categorized, three factors are concluded as reasons behind the development of these taboos and customs: religion, the projection of fear, and social network. For those professional groups, taboos and customs are formed mostly because of their projection of fear, while those of the amateur groups are formed due to the need for developing social networks. Moreover, most performers of Pak-Kuán glove puppetry, string-puppet drama in the north, and Pak-Kuán music accompaniment for rituals are from amateur groups; therefore, taboos and customs are spread also via these people. In the process of this study, many taboos and customs are diminishing or changing, resulting in the increasing difficulty to discuss in depth the meaning behind them, which makes this study even more urgent and necessary.

並列關鍵字

Pak-Kuán theater； taboo；custom；theater group；amateur group

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