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  • 學位論文

外台歌仔戲丑角活戲表演的「笑」與「鬧」

Please and Randan : The Performing of the Clowns in Outdoor Taiwanese Opera

指導教授 : 林鶴宜

摘要


本文將丑角調笑放置在活戲機制中,藉著回顧歌仔戲丑角的表演歷史,探討本地歌仔、內台歌仔戲、電視歌仔戲所使用的丑角表演特色;並整理外台丑角在古冊戲、胡撇仔上的調笑表演,彙整出丑角調笑類型,以討論其調笑與演員腹內、調笑事件、接話模式之間的關係,得知外台丑角的調笑有著可以隨時更新的調笑特質與隨時跳脫戲劇氛圍的趨向,這讓演員有源源不絕的創意表演注入相似的情節橋段中,也使得丑角扮演著與觀眾拉近距離的角色;不過樂於利用對答來創造調笑的丑角表演,使得丑角失去越來越多難以傳承的散狀表演,並以順戲為基本水準的表演要求下,絭養出許多丑角演員重覆使用的僵化調笑。 但是,無可諱言的,外台丑角的確有取悅觀眾的能耐,他能在調笑中加入許多與觀眾生活相關的訊息,使外台歌仔戲不只是戲曲演出,還是演員們與觀眾一同組成的同樂會,這種現象被通稱為「綜藝化」丑角,追根究柢「綜藝化」僅是丑角為取悅觀眾無可厚非的手段而已;只是,長久的綜藝化可能讓原本只是表面手段無形之中紮根到丑角表演本質中,讓演員不自覺地逐漸被綜藝化帶來的表面效果收買,因而走向與劇情斷裂、無法自立的丑角調笑表演。

並列摘要


This article systematically reviews the history of the Taiwanese opera performances, discussion the opera clown performing features of the local Taiwanese opera, the indoor Taiwanese opera, the TV Taiwanese opera. Finishing the clown performance of outdoor Taiwanese opera, we discuss his performance with performers, interesting dramatic events, and the dialogue mode. The clown performance of outdoor Taiwanese opera has the following features: update of the funny things and funny things which escape plot. This helps the clown create interesting things and get close to the audience. However, the creation of jokes in the dialogue will make learning how to be a good clown actor more difficult. Because of the mechanism of living drama for the help, a clown actor will become lazy, and does not want to go to the creation of a more interesting show. But, the clown of outdoor Taiwanese opera does have the ability to please the audience, and he will perform the interesting related the lives of the audience. This makes the Outdoor Taiwanese Opera is not just opera performances, but also a fun. This phenomenon is called a variety of clown performances. Actually, a variety of clown performances is only a means to please the audience. The variety will make clown actors habit to create the jokes which has nothing to do with the plot or lead to dependent performance on the opponents.

參考文獻


亞里斯多德著,陳中梅譯註
〈東方即興劇場:歌仔戲「做活戲」的演員即興表演機制和養成訓練〉,《戲劇學刊》第13期,台北:台北藝術大學,頁65-101,2011.01。
《永樂大典戲文三種校注》,台北:華正書局,2007。
〈台灣歌仔戲「做活戲」的演員即興表演與劇目創作參與〉,《民俗曲藝》,175期,台北:施合鄭基金會,頁109-177,2012.03。
Henry Bergson著,徐繼曾譯

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