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  • 學位論文

歐陽予倩桂劇改良之探析

Review on reform of GuiJu from Ouyang Yuqian's drama theory and practice

指導教授 : 徐亞湘 牛川海

摘要


十九世紀末以來,知識分子對於啟蒙與近代化觀念追求急迫,反映於對傳統舊弊病之批判,並著手於文學詩界與小說界的改革,同時也涵括了說白、彈詞與戲本。文人雅士與梨園伶人共同創辦《二十世紀大舞臺》,促進了梨園消息的交流和批判社會弊病的目標。除了戲曲文字的革新外,汪笑儂之京劇編演和夏月潤、夏月珊兄弟搭建新舞臺,分別為戲曲改良的表演和舞臺美術,寫下了重要的一頁。 歐陽予倩(1889─1962)亦受時代思潮和戲曲改良風氣之影響。他留學日本期間,參與春柳社演出話劇,回到中國上海後,仍活躍於各話劇社團,編演不輟。他同時又以票友身分學習京劇,搭班第一臺後成為職業伶人,與周信芳等人合作編、導、演多齣紅樓戲,嘗試京劇各種面向改良的可能性。如此涉足中西方戲劇並登臺演出之人,實屬少見。同時他不忘戲曲理論研究,為戲劇改良建立架構,留下足跡。 相較過去多論及歐陽予倩京劇改革和話劇開創,本研究著力於歐陽予倩對桂劇的改良。此論文試圖溯源歐陽予倩抗戰前的論述和舞臺經驗,從他的中西方戲劇活動歷程中所建立戲劇改良的觀念,進而分析他如何活用西方之編劇、表演、導演和舞臺技術,並將京劇演出的創新嘗試,實踐於桂劇改良中。桂劇是歐陽予倩改良戲曲著力甚深的舞臺,並探討《梁紅玉》、《木蘭從軍》、《搶傘》和《關王廟》桂劇新編中的形式與內容的突破,求其桂劇地方戲改良的完整關照。

並列摘要


Since the nineteenth century, intellectuals have actively sought enlightenment and modernization concepts, reflecting their criticism of traditional concepts. Moreover, they have proposed reform plans for literature, poems, and novels, including the shuopai (speech), tan ts (singing), and script writing of Chinese opera. Literati and actors in the Pear Garden founded Twentieth Century Great Stage to facilitate disseminating and exchanging information of the academy, aiming to critique society’s maladies. In addition to the reform of script writing, Peking opera directed and performed by Wang Xiaonongand novel stages designed by JiaYuerun and JiaYueshan also contributed greatly to the performances and stage arts of Chinese opera. Ouyang Yuqian (1889–1962) was also affected by the reform of Chinese opera. During his study in Japan, he participated in the performance of the Spring Willow Society. After returning to Shanghai, he actively participated in various spoken drama societies and served as a playwright and actor. Furthermore, as a fancier of Peking opera, Ouyang actively learned related acting skills and eventually worked his way up from a temporary actor to a professional actor. He cooperated with other famous actors, including Zhou Xinfang, to script, direct, and perform numerous acts of Dream of the Red Chamber, during which they attempted various methods to improve Peking opera. Ouyang was a rare case who actively involved in both Chinese and Western drama performances.In addition, he devoted his time in researching drama-related theories to establish a framework for improving Chinese opera. In contrast to previous studies which have mostly focused on the reform of Peking opera and creation of spoken drama by Ouyang, the present study investigated his contribution to reformingGuiopera. By analyzing the discourse and stage experience of Ouyang before the Second Sino-Japanese War, this study examined how he established concepts of reformation through his involvement in Chinese and Western performances, and how he adopted the scripting, performing, directing, and staging techniques of Western opera and the novel approaches of Peking opera to enhance Gui opera. Ouyang devoted substantial time in improving Gui opera. This study also investigated the innovative scripting and breakthrough of Liang Hongyu, Mulan Joins the Army, Under the Umbrella, and Guan Wang Miao to comprehensively address the reform of local Gui opera.

參考文獻


張啟豐:〈清代臺灣戲曲活動與發展研究〉(國立成功大學中國文學系博士論文)。
李元皓:《京劇老生旦行流派之形成與分化轉型研究》(臺北:國家出版社,2008)。
中國人民政治協商會議北京市委員會文史資料硏究委員會編:《京劇談往錄(三編)》(北京:北京出版社,1990)。
───:《京劇談往錄(四編)》(北京:北京出版社,1997)。

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