吳素霞七腳戲舞台演出本研究

The Chi-Kha Opera Stage Versions of Wu Su-Hsia

洪靜儀(Ching-Yi Huang)

指導教授 ： 林鋒雄

國立臺北大學/人文學院/民俗藝術研究所/碩士(2010年)

摘要

吳素霞女士畢生致力於七腳戲的傳承與保存工作已經邁入第三十年，這段時間吳女士在臺中縣沙鹿創辦了合和藝苑，乃屬於自發性社團；在彰化市南北管音樂戲曲館成立南管實驗樂團以及七腳戲研習班；亦到各個學校進行七腳戲的傳習工作，除了傳習工作之外，吳女士亦會定期讓學員們成果發表，同時藉由成果展讓一般民眾可以接觸這歷史悠久卻已逐漸失傳的傳統戲劇。

七腳戲在臺灣的發展時間相當長久，在清中葉之前就已經有此劇種的留傳，在臺灣多稱之為七子戲、梨園戲，現今學界又常以南管戲稱之。而選擇吳女士的演出本做為本論文的主要研究議題，第一是希望透過早期吳女士的演出影音資料進行研究，因為影像對於藝師本身來說，就是一種保存自身技藝的真實紀錄，也可以透過影像記錄幫助評鑑藝師的藝術技能，讓各界人士清楚地了解藝師本身的藝術地位；第二，期望透過對劇本的研究，可以完整呈現出每一齣戲劇所存在的意涵，如戲劇本身的表現力、各腳色間相依存的關係，音樂及唱腔、科步的美學意義等等。

今年(2010年) 吳素霞女士獲得行政院文化建設委員會頒布「重要傳統藝術保存者」南管戲的指定藝師此項殊榮。除了肯定吳女士在七腳戲的傳承工作，也肯定了七腳戲在臺灣的發展。近年來，吳女士已經減少舞台上的演出，退居幕後，只有在演出時負責南鼓的領奏，領導演出團隊達到最完美的演出。

關鍵字

吳素霞 ； 七腳戲 ； 南管戲 ； 梨園戲

並列摘要

Ms. Wu Su-Hsia served to promote and keep Chi-Kha Opera for all her life has been 30 years, during this time, Ms. Wu founded a voluntary associations-Haphe-Academy in Shalu township in Taichung County, and also founded Nankuan Experimental Orchestra and the course of Qi-zi Opera in Changhua County Museum of Traditional Nan Bei Music and Theater.
Ms. Wu also promoted Chi-Kha Opera in many schools, in addition to promotion, Ms. Wu also lets participants to make the exhibition of results, and let the general public to contact with the traditional drama that already a long history and gradually lost by the exhibition of results.

Chi-Kha Opera developed in Taiwan has been a long time since the middle period of Qing Dynasty, the most people call that Qi-zi Opera, Li-yuan Opera in Taiwan, most people call that Nankuan Opera in current academic.
There are two reasons we selected to use the acting copy of Ms. Wu as the major research topic in this paper.
First, we want to study through Ms. Wu's early performances by video data, because the image is a true record of saving their own skills for the artists themselves.
Comments artists skills of the artist by the video recording to allow the public clearly understand the position of art of artists.
Second, we look forward to show everyone the each theater’s meaning of complete as the expression of drama, the interdependent relations between the roles, music and singing tune, the significance of pacing through research on the script.

Ms. Wu Su-Hsia got the privilege that the designated artists of Nankuan Opera of “preservation of important traditional arts” from Council for Cultural Affairs,Republic of China(Taiwan) this year(2010).
Not only Ms. Wu’s promotion and keep for Chi-Kha Opera got the reward, but also Chi-Kha Opera’s development in Taiwan got the reward, too.
In recent years, Ms. Wu has been reduced performances on stage, she only leads the team of Nanko to perform the most perfect performance.

並列關鍵字

Wu Su-Hsia ； Chi-Kha Opera ； Nankuan Opera ； Li-yuan Opera

參考文獻

2006 〈論南管曲門頭(mng-thau)的概念及其系統〉，國立臺灣師範大學音樂學

2007.04 〈論南管整絃的樂儀--排門頭與樂不斷聲〉，《文資學報》3，95-121。

2006.06 〈南管曲目分類系統及其作用〉，《民俗曲藝》，152，253-297。

1986 《南管音樂體製及歷史初探》，臺大出版委員會出版 : 臺大文學院發行。

參考書目