臺灣歌仔戲傳統文場樂師的養成及其技藝－以臺北地區為限

The Cultivation for Taiwanese-Opera Musicians of Traditional String and Wind Instruments, together with Their Artistry —Confined to Taipei

劉映秀(Ying-Hsiu Liu)

指導教授 ： 林鶴宜

國立臺北藝術大學/文化資源學院學術論文/傳統藝術研究所/碩士(2011年)

摘要

傳統的歌仔戲演出無論是演員或樂師都沒有劇本可依循，外台戲班的演員在演出前聽講戲人講述劇情大綱，在腦中打好草稿便上台演出，唱詞、唱腔都可以是臨場的即興演出，文場樂師則依照劇情走向來鋪陳音樂，為演員的唱腔做伴奏，沒有事先知道演員要唱什麼，也沒有樂譜供其按譜演奏，無論是「活戲」或「活奏」，都是傳統歌仔戲的一大特色。
臺北地區（包含現今臺北市與新北市）的外台戲班演出活動自成範圍，戲班演出風格與觀眾觀劇習慣自有其默契，因而本論文選定臺北地區作為訪查範圍。根據筆者實際觀察和參與外台歌仔戲的演出發現，外台戲班的文場樂師在學習的過程中，其實很少使用到樂譜，尤其是老樂師，在過去沒有錄音設備和記譜習慣的時代，除了仔細觀察老師並用心模仿外，並無其他學習途徑，即便是現在年輕一輩的外台戲班樂師，仍舊很少使用樂譜，他們依循前輩們的學習習慣，用頭腦和手指把技藝深深刻入身體，不需使用樂譜卻能夠永誌不忘，加上外台戲班環境中的生存競爭，外台戲班的文場樂師大多擁有強烈的企圖心，推動他們自我要求，不斷地尋求新的、更好的技術，並養成自學研究的習慣，這使他們的技藝大多帶有強烈的個人風格，並且能夠快速吸收來自各方的新東西。
在外台戲班的演出形式與環境需求下，一位好的文場樂師最重要的是能夠與演員相互配合，提供演員最舒服的演唱伴奏和表演氣氛，對於樂器演奏技巧的要求相對較低，也因而與現代的公演形式歌仔戲，在審美角度上有些許差異，然而，真正的好樂師無論在哪一種表演形式中都會被認同，在本論文的第肆章及第伍章中，自上一代的前輩樂師，與新生代的青年樂師中，挑選出幾位技藝傑出，廣受演員與觀眾認同的文場樂師，做較深入的描寫，並探索其對歌仔戲音樂的想法，及其身為優秀歌仔戲文場樂師所秉持的精神和態度。

關鍵字

文場樂師 ； 外台戲班 ； 傳統歌仔戲 ； 活戲 ； 臺北地區

並列摘要

There are in fact no libretti or scripts for Traditional Taiwanese Opera performers and musicians to act on. Usually before the performances of outdoor troupes start, troupe storytellers will depict the scenario outline to performers, who would soon make drafts accordingly and going then directly onto stage. The non-percussion musicians shall elaborate the music based on the drama’s development, accompanying performers’ vocal singing. The extempore acting and music-playing have both featured Traditional Taiwanese Opera.
Forming the tacit understanding with the viewers, outdoor troupes in the Taipei Area (nowadays including Taipei City and New Taipei City) have, with their performing styles, drawn their own territories. This is why this thesis is mainly working on the Taipei Area. From my observation along with actual participation in outdoor-troupe performances, seldom do their non-percussion musicians employ music books during the skill-acquisition process, especially the elderly ones. Though without music books, they still manage to internalize the skills for good with the brain and fingers via closely observing their instructors and hearty imitation. Furthermore, due to the keen competition among outdoor troupes, ambitious outdoor-troupe musicians are forced to seek more innovative skills by self instruction and research, which not only enables them to absorb new stimulation but also has led to the formation of their unique artistic skills.
To conform to outdoor-troupe performing styles and circumstances, really great non-percussion musicians are required to serve the performers well by providing them with the most comfortable performing accompaniment and ambiance, though at the same time, their instrument-playing skills may become comparatively less important. This has resulted in the aesthetic difference from the public-performance Taiwanese Opera; however, truly great musicians are still well recognized in whatever performing form. To prove this, with more detailed description, the fourth and fifth chapters of this thesis has covered several excellent highly-adored non-percussion musicians of the elderly and younger generations, exploring the attitude they hold in being great non-percussion musicians, as well as their thoughts about Taiwanese Opera music.

並列關鍵字

non-percussion musicians ； outdoor troupes ； Traditional Taiwanese Opera ； extempore acting ； Taipei Area

參考文獻

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