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  • 學位論文

廖和春編撰拱樂社內臺歌仔戲劇本研究

Study on the Script Compilations by Liao Hechun For Neitai Koa-a-hi of Gongyue Club

指導教授 : 林鋒雄
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摘要


拱樂社戰後在全台各商業戲院演出,曾擁有相當好的票房,在台灣歌仔戲歷史中占有重要的地位。初期的拱樂社也是以「講戲」方式進行演出,之後由於當家主角錦玉己離團,團長陳澄三便改變經營方式,開始訓練屬於拱樂社自己的演員,並聘請編劇編寫劇本。由於新訓練的演員還沒有什麼舞台經驗,沒有即興發揮的能力;因此透過編劇所撰寫的劇本,演員可以根據劇本逐句的學習跟排演後上台演出。廖和春曾經主持「雙十」、「大臺灣」等新劇團,也曾參與過歌仔戲的演出,經驗涵蓋新劇與歌仔戲;在拱樂社擔任編劇期間,編有「德化萬惡」、「孝子殺親父」、「田單復國」等內臺歌仔戲劇目;而廖和春這些劇本,在劇目情節安排上,和傳統歌仔戲的劇本有些不同,融合了新劇的元素。 本文以2001年由邱坤良教授整理、國立傳統藝術中心所出版拱樂社中,有關廖和春所編內臺歌仔戲劇目為材料,以劇本分析為主要研究方法、資料的整理蒐集分析為輔,依據戲曲理論家李漁、姚一葦等人的論點,針對廖和春所編撰《田單復國》、《德化萬惡》及《孝子殺親父》等劇本其劇情結構、人物、主題等逐一進行分析。 透過研究上述劇本,筆者有幾個想法:一、廖和春筆下的女性角色大多是大膽追求自己目標、理想,不受傳統束縛的女人。二、劇中的主角都曾被惡人利用,並藉此增加劇情的多元性及精彩度。三、戲劇中善用角色性別轉換,使劇情變得多元及複雜。筆者也認為,可以從廖和春所編的劇本看出歌仔戲是個求新求變、與當代流行結合,又可發揮傳統戲曲教化忠孝節義功能,符合臺灣多元特色的劇種;可說是討論傳統戲曲與新劇融合經驗,以及臺灣民間戲曲的變與不變最佳案例。

並列摘要


After World War II, Gongyue Club made its performances in the various kinds of commercial theaters across the country, and it had good box office sales at the time, moreover, it played an important role in the history of Koa-a-hi. In its early period, Gongyue Club started its performances by way of “Telling dramas”, later on, due its lead actor-Jinyu left the club, its club manager-Chen Chengshan started to change its business operation, a switch to begin a training on its own for the required performers in the Gongyue Club, as well as to hire playwright for scripts. Due its newly trained performers had very few stage experiences, their ability on improvisation was not developed just yet; in the way, through the scripts written by the playwright, the performers were able to make advance learning and rehearsals word by word according to the script before their actual stage performances. Liao Hechun, the playwright, once as a host for new drama theaters, such as “Double Ten” and “Big Taiwan”, and he personally had joined the performances of Chinese Operas, with his experiences to cover both new dramas and Chinese operas. During the period when Liao Hechun was the playwright of Gognyueh Club, he made adaptations of Neitai Chinese Opera plays, such as “Te Hua Wan Wu (Virtue Resolves All Evils)”, “Obedient Son Kills Blood Father”, and “Tientang Recovers Lost Land”. On the arrangement of play settings for the scripts made by Liao Hechun, they were somewhat different from the scripts of traditional Koa-a-hi, and there were combinations of elements from new dramas.    In the paper, the sources will be the part in relation to adaptations of Neitai Chinese Opera plays by Liao Hechun from the publication of “Gongyeuh Club” in 2001 by National Center for Traditional Arts, which was organized and compiled by Professor Qiu Kunliang. The major research method is script analysis, with the auxiliary aid by organization, collection and analysis on data, and according to viewpoints of theater music theorists, such as Li Yu and Yao Yiwei, to work on analysis respectively on drama scenarios, characters and topics for scripts compiled by Liao Hechun, such as “Tientang Recovers Lost Land” , “Te Hua Wan Wu (Virtue Resolves All Evils)”, and “Obedient Son Kills Blood Father”.    Through research on the above stated scripts, the author myself has several thoughts to share here: 1.The female characters written by Liao Hechun are usually women who boldly go after their own goals and ideals, without being restrained by the conventional rules. 2. The protagonists in the scripts are being used once by evil guys, and this is to add diversity and tension to the operas. 3. In the opera, there are skillful employment on the gender switches of characters, and such utilization adds complications and varieties to the scenarios. The author also believes that from the scripts made by Liao Hechun, to see Koa-a-hi as a kind of drama fitted to the diverse cultures in Taiwan, in which not only it makes combination with the contemporary fads while making changes along with time, but it can also excel on the functions of traditional drama and music, to educate people about the teachings of loyalty, filial piety, integrity and justice; in other words, it is rather an experience for discussions of integration between traditional dramas and new dramas, but it is surely the exemplary best explained the challenges and unvarying elements in Taiwan folklore dramas.

參考文獻


林鋒雄,民100(2011.03),〈臺灣省地方戲劇協進會出版刊物《臺灣地方戲劇》中的戲劇史料〉,《民俗曲藝》171,頁253-290。
劉南芳,《台灣內臺歌仔戲定型劇本的語言研究-以拱樂社劇本為例》,國立清華大學中文所博士論文,2011。
林玉如,《跨場域舞台的戲劇創作與轉化-陳守敬歌仔戲寫作技巧探析》,國立台灣大學戲劇學系碩士論文,2006。
專書:
呂訴上,《台灣電影戲劇史》,臺北市;銀華,民80.09。

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