董盈廷畢業音樂會詮釋報告—北管古路戲〈扯甲〉之表演藝術

本文主要以《鬧西河》中之〈扯甲〉一齣為研究重心，即使唱腔種類僅有【平板】與【緊板】，變化實在不多，但在不同師承下所見的唱腔特色，仍具有傳承保存上的價值。由此看來，〈扯甲〉之所以會一直流行在北管表演中，其唱唸並不是主要原因，前場表演才是重點。因此，本文不僅討論後場樂師的伴奏風格，對於前場演員的身段表演與音樂間的關係，也一併記錄說明。在文中最後，亦將傳統北管戲曲扮相納入說明，此部份至今仍較少被關注，尤其在當今仍見之舞台表演上，北管妝容已有部份被京劇、歌子戲所運用者所取代，因此傳統妝容是相當值得記錄的。本文除了緒論與結論外，共分三章。第一章為針對〈扯甲〉一齣進行總講文本上的討論，主要以北管戲與桂劇進行本事方面的比較。第二章則從〈扯甲〉前場表演與後場伴奏兩方面，來分析因不同師承而產生的唱腔差異及與後場樂師搭配間的關係；在前場身段部分，主要說明戲中兩位角色的走位和肢體動作。第三章則為〈扯甲〉舞台妝扮的記錄，將戲中兩位主角在演出〈扯甲〉時所穿戴的的服裝、道具與梳化妝進行說明。

關鍵字

北管戲曲；鬧西河；扯甲；彭繡靜；北管戲曲梳化妝

並列摘要

Focused on the episode of Chejia in Naoxihe which should only contain two vocal tunes: Pinban and Jinban without dramatic changes, while there are indeed varied singing features given the fact that taught by different masters. Considering that, it is worthy of heritage preservation. Seen in this light, the reason why Chejia has been popular in Beiguan performances is not because of their style of singing, but the preamble performances. Based on this reason, the paper not only discusses the accompaniment style in the performance, but also the relationship between actors' posture in preamble performance and the music. In the end part, the paper also introduces the costume of traditional drama Beiguan, which is still less concerned, especially under the current circumstance for stage performance that the costume of Beiguan is gradually replaced by Peking opera and Utako drama. But in fact, traditional costume is quite worthy of recording. In addition to introduction and conclusion, the paper has three chapters. The first chapter has a general text description to Chejia by comparing Beiguan and Gui opera. The second chapter analyzes the reason of singing difference succeeded from different masters and the coordination of musicians; for preamble performance, the walking styles and physical actions are described. The third chapter records the stage costumes of Chejia, illustrating the costumes, props and makeup of the two protagonists.