臺灣亂彈戲演員彭繡靜及其在《斬經堂》中的表演

本論文主要透過北管演員彭繡靜的《斬經堂》正旦演出，瞭解亂彈戲身段藝術的內涵。　彭繡靜出生於民國二十九年，從十五歲開始接觸亂彈戲至今已有超過五十年的舞台演出經驗，而除了表演以外，也於民國八十二年始，到新竹、彰化等地教授亂彈戲至今。本文透過筆者親身學習、對彭老師的口述訪談等方式，將她學戲過程、教學經驗記錄下來，最後針對其在《斬經堂》中的正旦身段作圖解、歸納、整理，期盼成為往後北管身段紀錄的基礎。　　本文共分五章，第一章為緒論；第二章為彭繡靜的戲曲生涯，紀錄其生長背景、學戲過程以及教戲生涯等。第三章為口述旦角身段之記錄，主要以彭繡靜所擅長的小旦身段為主，第四章則以北管戲《斬經堂》為例，透過演出紀錄的方式，將彭繡靜的身段與唱腔記錄下來，第五章為結論。

關鍵字

彭繡靜、《斬經堂》、北管戲、正旦

並列摘要

In this thesis, the main purpose of this essay is to understand the connotation of Pak-Koan-hi action posture through Zhengdan performance in “Jhan Jing Tang” of actor PENG, SHIOU-JING in. 　　PENG, SHIOU-JING was born in 1940.She has involved in the Pak-Koan-hi for over 50 years experience in stage performance since she was fifteen years old. In addition to performing, she was devoted in the teaching of Pak-Koan-hi in Hsinchu and Changhua since 1993 　　This thesis records the experienced of learning Pak-Koan-hi and interviews with professor PENG. Realize the learning process and teaching experience in Pak-Koan-hi. In accordance with action posture of Zhengdan in" Jhan Jing Tang " by illustrations, induction and sorting. Looking forward this thesis could become the basic record of Pak-Koan action posture in near future. 　　　　This thesis divided into five chapters, the first chapter is an introduction, the second chapter is the opera career of PENG, SHIOU-JING.It records growth background ,the process of studying opera and the drama teaching career. 　　In the third chapter the oral the female roles posture of record, the main good female role PENG, SHIOU-JING static posture The fourth chapter records Pak-Koan-hi " Jhan Jing Tang "as a sample through the way of the performance by PENG, SHIOU-JING’s action posture and singing and the fifth chapter is the conclusion of the thesis .