南投新世界陳俊然布袋戲「南俠」之研究―以《南俠（沒價值的老人）》為研究對象

The “Lâm-kiap” Drama Series by Tân Tsùn-jiân’s “Sin-sè-kài” Pòo-tē-hì Trope in Nantou: A Study Focusing on “Lâm-kiap - Bô-kè-ta̍t ê Lāu-lâng”

巫裕雄(Yu-Hsiung Wu)

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

陳俊然（1933-1997）出生於南投縣名間鄉新街村，開創「新世界」系統，是臺灣布袋戲界的第三大門派，僅次於雲林虎尾的「五洲園」系統與雲林西螺的「新興閣」系統。陳俊然師承「潮調布袋戲」的演師，後因「潮調」後場樂師的凋零，陳俊然使用臺灣本土化的北管音樂作為演出配樂，而實際演出仍是「潮調布袋戲」的劇情內容。

陳俊然從事布袋戲演出，初期並不順遂，直到推出《江湖八大俠》及《紅黑巾》兩齣戲，才在臺灣中部嶄露頭角，後又以《南俠》系列作品在演藝生涯再攀另一高峰。除了演出，陳俊然也灌錄大量布袋戲唱片、掌中戲劇後場樂唱片及廣播布袋戲節目，已知出版唱片數量有402張，居全臺之冠，故有「廣播界、唱片出版界的布袋戲霸王」之稱號。

本文針對陳俊然的《南俠（沒價值的老人）》作品為研究對象，以「文獻蒐集分析」與「田野調查」為研究方法，探討《南俠（沒價值的老人）》一劇之劇情內容，以及「文俠孔明生」、「南俠翻山虎」、「沒價值的老人」、「江山美人醉西施」及「變化千萬招」等主要人物的型塑特色，最後說明陳俊然所創造的《南俠》系列作品，對台灣布袋戲界所造成的影響。

《南俠（沒價值的老人）》一劇，圍繞在明江派與天地會八卦教正邪對抗的架構下發展，兩派的紛爭起因於天地會八卦教總教主「萬年鬼婆毒婦心」與「簫聲怪影海波浪」母子兩人的家庭糾紛，引發一連串的正邪對立衝突。陳俊然在此劇中成功型塑各個主要角色，其中「沒價值的老人」是最具代表性的角色，包括角色性格與特殊口音均深受觀眾喜愛，甚至超越「南俠翻山虎」與「文俠孔明生」，成為戲份最吃重的角色。

陳俊然約自1960年代開始演出《南俠》， 後因中風才停演，演出長達二十多年。且陳俊然停演後，《南俠》仍由「新世界」門下及外派演師在臺灣中部各地演出。筆者透過田野調查發現，今日在南投、彰化、臺中、雲林、嘉義等地，仍可見劇團演出《南俠》，至今已演出超過四十年，依然是受觀眾喜愛的劇目，可見陳俊然創造《南俠》一劇對台灣布袋戲影響之鉅。

目前對於陳俊然、「新世界」系統，及陳俊然作品的研究甚少，隨時間流逝，對於此領域的研究、保存工作將日益困難，同時也有刻不容緩壓力，亟需各方投入更多的人力、物力、財力，來記錄、保存、延續臺灣布袋戲第三大門派的各項珍貴文化資產。

關鍵字

布袋戲 ； 南投 ； 新世界 ； 陳俊然 ； 南俠 ； 沒價值的老人

並列摘要

Tân Tsùn-jiân (1933-1997), was born in Xinjie Villlage, Mingjien Township, Nantou County, is the founder of “Sin-sè-kài Puppet Performance Group”, the third largest puppet performance group in Taiwan smaller than the Groups of “Ngóo-tsiu-hn̂g” from Yulin Hóo-bóe and “Sin-hing- koh” from Yulin Sai-lê. Mr. Tân was passed on the puppeteer from “Tiô-Tiāu Puppet Performance Group”, and after withered of backcourt musicians, he used the Taiwan localized “Pak-kúan” music to score for performance, but the story performed still follow the content of “Tiô-Tiāu Puppet Performance Group”

Tân Tsùn-jiân’s performance career was not smooth at the initial stage until two dramas named of “Kang-ôo-pat- tāi-kiap” and “Âng-oo-kin” were performed, then he stand out conspicuously around the Central of Taiwan. The series of “Lâm-kiap” brought his career to another peak. In addition to performance, Mr. Tân also recorded a large number of records of puppet performances, backcourt music, and broadcasting puppet programs. There are 402 records published and known as the lead in Taiwan. So He got the fame of “The Overlord of Puppet Performance in Broadcasting and Music Publishing Industry”.

The research object of this study bases on Tân Tsùn-jiân’s work of “Lâm-kiap - Bô-kè-ta̍t ê Lāu-lâng”. I apply “Literature Review and Analyze” and “Field Research” to explore the content of “Lâm-kiap - Bô-kè-ta̍t ê Lāu-lâng” and the characteristics of the main roles, such as “Bûn- kiap Khóng-bîng- seng”, “Lâm-kiap Hoan-san-hóo”, “Bô-kè-ta̍t ê Lāu-lâng”, “Kang-san-bí-jîn Tsùi- se-si”, and “Piàn-hùa Tshian-bān- tsiau”. Finally, the impact of Tân Tsùn-jiân’s Lâm-kiap serial performances on Taiwanese puppet field will be interpreted.

“Lâm-kiap - Bô-kè-ta̍t ê Lāu-lâng” was developed that based on the framework of the goodness represented by “Bêng-kang-phài” and evil represented by “Thian-tē-huē Pat-kùa-kàu”. The conflict between the two factions was arisen from the family disputes between a mother, the Bishop of “Thian-tē-huē Pat-kùa-kàu” labeled as “Bān-liân-kúi-pô To̍k-hū-sim”, and her son, labeled as “Siau-siann-kùai-iánn Hái- pho-lōng”. It sparked a series of goodness-and-evil conflicts. Tân Tsùn-jiân successfully shaped the characteristics of all kinds of major roles in this drama. “Bô-kè-ta̍t ê Lāu-lâng” was the most representative one. Because of his role character and special accents, he was audiences’ favorite, even beyond the role of “Lâm-kiap Hoan-san-hóo” and “Bûn- kiap Khóng-bîng- seng”. And he becomes the most prominent role in the drama.

Tân Tsùn-jiân has performed “Lâm-kiap” series puppet dramas for 20 years since 1960’s and till getting apoplexy. After Tân Tsùn-jiân stopped performing, the “Lâm-kiap” remained to be performed by the disciples and dispatched puppeteers of " Sin-sè-kài " in the Central Taiwan. Through the filed research, the author found that the drama of “Lâm-kiap” is still performed by some puppet performance groups located in Nantou, Changhua, Taichung, Yunlin, and Chiayi. Even over four decades, this drama is still very popular. Therefore the drama of Tân Tsùn-jiân’s "Lâm-kiap" plays a great impact on Taiwan puppet performance field.

Currently the researches for Tân Tsùn-jiân, the “Sin-sè-kài” Performance Group, and Tân Tsùn-jiân’s works are still rare. With the passage of time, it becomes more difficult to study this issue and preserve the puppet culture. And under the time limit, we definitely immediately need all the parties to support more manpower, resources and finances to record, preserve, and extend the precious cultural assets of Taiwan's third-largest puppet group in Taiwan.

並列關鍵字

Puppet ； Nantou ； Sin-s&egrave ； -k&agrave ； i ； T&acirc ； n Ts&ugrave ； n-ji&acirc ； n ； L&acirc ； m-kiap

參考文獻

楊雅琪 2004 〈玉泉閣布袋戲團研究〉，成功大學中國文學研究所碩士論文，馬森、石光生指導。

引用書目

論著

江武昌 1990 〈臺灣布袋戲簡史〉，《民俗曲藝》67、68期 布袋戲專輯，臺北：財團法人施合鄭民俗文化基金會，88-126。

——— 1990 〈臺灣布袋戲藝人名錄〉，《民俗曲藝》67、68期 布袋戲專輯，臺北：財團法人施合鄭民俗文化基金會，127-219。