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  • 學位論文

臺北市大龍峒保安宮家姓戲研究

The Study of Surname Folk Opera Series of Dalongdong Baoan Temple in Taipei City

指導教授 : 蔡欣欣 簡秀珍

摘要


大龍峒保安宮位於臺北市大同區,建於清代,主祀保生大帝,為直轄市定古蹟。早期是泉州同安移民的信仰中心,近年來則積極發展文教事業,朝向「文化寺廟」的方向努力。相傳此地自清道光十年(1830)起即有「家姓戲」風俗,由地方上各個不同的家姓組織,於每年農曆三月初五至二十八日保生大帝聖誕期間,輪流請戲演出酬神,除了崇敬神明、祈天保祐的目的外,更含有劃分及顯耀宗族勢力的意義。但因社會型態變遷,家姓組織日漸瓦解,這項傳統亦隨之沒落。1994年,保安宮獲選舉辦全國文藝季「保生文化節」活動,以「大龍峒民間劇場——家姓戲」為主題,邀請傳統戲曲及音樂團隊進行表演,方使其風華再現,轉型成今日所見的「保生文化祭家姓戲」。保安宮家姓戲迄今已有一百八十餘年的歷史,無論是由家姓組織籌辦,以民間傳統的民戲形式演出;抑或由保安宮主辦,以文化轉型後的公演形式出現,兩者皆具有宗教、聯誼、教育、文化等多重功能,本文即針對此議題,梳理其整體發展脈絡,並探討其中所蘊藉的文化意涵。

並列摘要


Dalongdong Baoan Temple, built in Chin Dynasty, is located at the Datong District of Taipei City. The main worship of Baoan Temple is the Baosheng Emperor. Baoan Temple is listed as a municipal historic monument. In early age, Baoan Temple was the worshiping center of people from Tong-an in Chuan-chou. In recent years, it has developed cultural undertakings and changed to be a cultural temple in recent years. It is said the tradition of “Surname Folk Opera Series” began in 1830. “Surname Folk Opera Series” was held by different local clans. These “Surname Series” ran from the 5th to the 28th of the third month on a lunar calendar. Besides showing respect to the god and begging the god's protection, it also represented the power of different clans. But the tradition declined after the change of society and the disintegration of clans. “Baosheng Cultural Festival” was launched in 1994. It adopted “Surname Folk Opera Series of the Folk Theater at Dalongdong” as the major festivity and invited traditional folk opera and orchestra to perform there. After successive yearly activities, it has turned to “Baosheng Cultural Festival” now. The “Surname Folk Opera Series” has been held for more than 180 years. No matter it was held by local clans or by Baoan Temple, this operatic has the multi-functions of religion, friendship, education and culture. In this dissertation, I discussed the historical development and cultural meanings of “Surname Folk Opera”.

參考文獻


陳幼馨,《臺灣歌仔戲「胡撇仔」表演藝術進程與階段性特質》,臺北:國立臺灣大學臺灣文學研究所碩士論文,2008。
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