臺灣的越劇演出

The Performance of Yueju in Taiwan

邱怡寧(Yi-Ning Chiu)

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(2016年)

摘要

本論文研究臺灣越劇的演出狀況，以1950年隨國軍來臺的越劇演員組成「風虎劇宣隊」，在美都麗大戲院演出為始，2004年再興青年越劇團在美國公演為終。1949年國民政府和軍隊陸續遷臺，多樣的地方戲匯集寶島，越劇是其中之一。風虎劇宣隊的演出，讓越劇正式登上臺灣戲曲舞臺。軍中越劇隊解散後，錢秋卿和楊餘慶相繼舉辦民間越劇團，錢秋卿甚至籌辦了臺灣唯一的越劇私人科班。大鵬劇校出身的周彌彌，經香港來臺的越劇名家高瑾和票友嚴憶苓都曾各自創團，顯見越劇曾在臺灣戲曲史占有一席之地。
本文分為六章，第一章「緒論」分為四節，第一節說明研究動機，第二節藉由文獻回顧梳理越劇的發展歷史，第三節提出論文的研究方法和限制，第四節簡介論文的架構大綱。第二章「臺灣第一代越劇演員」分四節，第一節介紹臺灣第一批越劇演員如何渡海來臺，以及之後參與演出的劇團和發展概況。第二節透過訪談第一代越劇主要演員葛少華、張麗雲和霍金翠，勾勒國軍甫遷臺時的演出生態。第三節將臺北越劇全盛時期1950年到1963年的演出劇目分類，並作成十六萬餘字的年表放在附錄。第四節則介紹劇團編制及演出場所。
第三章「臺灣的越劇科班與票友」分四節，第一節介紹錢秋卿開辦的私人科班文字輩，第二節書寫跟第一代藝人差不多時間來臺灣的票友黃潔月，第三節介紹嚴憶苓與她的東山戲劇團，第四節討論京劇演員演出越劇或其他戲曲的因應之道。第四章「越劇表演藝術家高瑾」分三節，第一節書寫高瑾的學戲背景與早期在中、港、臺的演出經歷，第二節介紹她來臺後成立高瑾越劇團的種種，並從影片《梁祝》和《紅樓夢》窺見她的表演藝術，第三節討論高瑾為臺灣越劇帶來的影響和衝擊。第五章「再興青年越劇團」分三節，第一節介紹周彌彌如何創辦再興青年越劇團，第二節書寫周彌彌在兩岸開放後，赴大陸拜傅全香為師，並製作兩部臺灣越劇，融入本土文化。第三節討論再興青年越劇團的影響。第六章「結論」，提出本研究的意義和缺憾，以及後續研究的方向。
紅極一時的越劇因為沒有如歌仔戲的本土方言優勢，而漸漸與其他大陸地方戲一樣湮沒，盼本論文能拋磚引玉作為研究越劇在臺灣的起點。

關鍵字

臺灣越劇 ； 越劇團 ； 演員 ； 表演 ； 劇目

並列摘要

This thesis follows the performing circumstances of Yueju in Taiwan, starting with performances in Mei-du-li Grand Theater by “Fong Hu Propagation Theatrical Group,” whose members came to Taiwan with the national revolutionary army in 1950, and ending at the performance of Zai Sing Youth Yueju Theatrical Group in the US. With the gradual movement of national government and the army to Taiwan since 1949, a wide range of local theaters have gathered on the island, of which Yueju is one. Yueju was formally introduced to the stage in Taiwan with performances by Fong Hu Propagation Theatrical Group. After the dismissal of the military theatrical group, Cian Ciou-cing and Yang Yu-cing started to form theatrical groups, with Cian Ciou-cing providing the only private professional training on Yueju. Jhou Mi-mi, graduated from Da Peng Theatrical School, Gau Jin, a celebrity of Yueju who came to Taiwan via Hong Kong, and Yan Yi-ling, an amateur performer, established their own theatrical groups respectively. It is obvious that Yueju used to play an important role in the history of traditional drama in Taiwan.
The thesis is divided into six chapters. The first chapter “Introduction” is divided
into four sections, the first of which elaborates on motivation of the study, the second of which sorts out historical development of Yueju through literature reviews, the third of which puts forward the methodology for this study and its limitations found in the process of the research and the fourth of which briefly introduces the structure of the thesis. The second chapter “The First-generation Performers in Taiwan” is again divided into four sections, with the first section accounting how these performers moved from China to Taiwan, what theatrical groups they joined after coming to Taiwan, and how these theatrical groups developed. The second section depicts the performing environment for the Yueju when national revolutionary army first arrived in Taiwan, through interviews with the major first-generation actresses of Yueju, including Ge Shao-hua, Jhang Li-yun, and Huo Jin-Cuei. The third section classifies the repertoire in the golden age of Yueju in Taipei, from 1950 to 1963, on the basis of content, with a chronological table of 160,000 words attached to the end of the thesis. The fourth section explicates the organization of theatrical groups and their performing locations.
The third chapter “Pros and Amateurs of Yueju in Taiwan” also consists of four
sections. The first section introduces the private professional school of Yueju formed by Cian Ciou-cing; the second section writes about the amateur actress Huang Jie-yue, who came to Taiwan around the time of professional actors and actresses; the third section talks about the amateur actress Yan Yi-ling, from Hong Kong, together with the Dong Shan theatrical group she established; and the fourth section deals with ways that actors and actresses of Peking Opera do when acting for other theatrical types. The fourth chapter “Yueju famous performer Gau Jin” is divided into three sections. The first section writes about her learning process and performing experiences when she was in China, Hong Kong, and Taiwan in the early stages. The second section introduces how she set up a theatrical group after she had settled down in Taiwan and witnesses her extraordinary performing art through “The Butterfly Lovers” and “The Dream of the Red Chamber” which were recorded in films. The third section discusses the influences Gau Jin has on Yueju in Taiwan. There are also three sections in the fifth chapter “Zai Sing Youth Yueju Theatrical Group.” The first section introduces how Jhou Mi-mi, who has never taken any professional training on Yueju, starting from scratch, founded Zai Sing YouthYueju Theatrical Group. The second section writes about how Jhou Mi-mi went to China to have Fu Cyuan-siang as her teacher and seek advice from other masters after communication channels between people across the strait were opened, while putting up two plays integrating Taiwanese culture into Yueju. The third section discusses and concludes the influences Zai Sing Youth Yueju Theatrical Group has on Taiwan. The sixth chapter is “Conclusion,” in which the meaning and shortcomings of the study, topics worth pondering on, and future research directions are pointed out.
Unlike Kua-a-hi, which enjoys the privilege of using the local dialect in Taiwan,
Yueju, the once popular theatrical type, has been fading with other local theaters from
China. It is hoped that this thesis can serve as a starting point for future researches on
Yueju in Taiwan.

並列關鍵字

Yueju in Taiwan ； Yueju troupe ； actor ； performance ； repertory

參考文獻

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