台灣京劇劇場溯源-京劇表演程式與展演空間之研究

The theater origin of Taiwan Chinese Opera – The performance formula of Chinese Opera and the research of performance space

何元佳(Yuan-Chia Ho)

指導教授 ： 郭肇立 ； 黃俊銘

中原大學/設計學院/建築研究所/碩士(2005年)

https://doi.org/10.6840/cycu200500070

摘要

摘要

「京劇」歷經演化，已發展出一獨特的「表演程式」，及其「表演空間」。京劇之美，在於嚴謹的表演程式，也由於這獨特的表演程式，因此在「表演空間」的要求上也有其特殊性，然而今天台灣可供演出的表演劇場，多為多功能式的「鏡框式舞台」，其不但在空間上、技術上對京劇的影響頗大，也改變了觀眾與表演者之間的關係。本研究藉由京劇的歷史沿革、各個表演空間對於京劇表演本質所造成的影響，及對於在現代化展演空間裡所進行的京劇表演進行分析，以瞭解西方劇場現代化空間對京劇表演所產生之影響。
這些影響在演出形式上，因早期的表演場地是針對京劇演出時所需的特色及空間而產生，而演出的程式，也會隨著場地設備或觀眾的需求而有所改變，但將現代化的設備以及新的觀演空間加入了京劇，卻也使得京劇的演出形式為了配合表演空間而做出改變。在觀演習慣的改變上，西方劇場裡觀賞演出的規則傳入後，使得京劇劇目在演出上將連本大戲，改變至折子戲或小戲，在演出的時候必須維持著劇場的秩序，也相對的減低了在傳統“聽戲”所體現的人情味及熱鬧的感覺。在西方現代設備帶給京劇的衝擊上，最重要的就是佈景的應用，然而虛擬的舞台，才是京劇舞台的精髓，佈景分散了對於演員表演的注意，更減低了京劇虛擬空間裡突破空間、時間限制的意境。而在現代大型表演場地中，京劇表演裡麥克風的運用，不但影響演員的表演、更是損失了觀眾在聽覺上的欣賞，因為京劇表演中的唱功，其實是欣賞京劇一個非常重要的憑藉。
傳統的京劇表演，配合不同演出目的及演出場所，而有著不同大小、類型的表演空間，京劇表演若需在西式現代化的展演空間進行演出時，其表演的本質就不得不針對現代劇場而進行設計，然臺灣之劇場設計，對於京劇美學本質上認識不足所引發的誤解，導致現今多數京劇演出，仍呈現出以表演去遷就場地，而減損其表演特質，而現今表演劇場類型的單一性，也使得表演在空間的選擇上相對的減少。
如能將傳統表演空間裡非理性、熱鬧的氛圍重現至現今的京劇表演當中，讓京劇的特色經由空間的重建而展現出應有的美學特質，不再是為應映西方的理論架構下而發展的藝術，使大家能在生活中恣意的體驗屬於中國傳統藝術的精髓那麼，也許可以替京劇在現在所面臨許多空間上規劃的問題，找出一個解答，是為今後各界亟需努力之目標。

關鍵字

台灣展演空間 ； 中國傳統戲曲 ； 京劇 ； 展演空間 ； 京劇表演程式 ； 京劇劇場

並列摘要

Abstract

Having gone through many transformations, Chinese Opera has developed a unique “performing program” and “performing space”. The beauty of Chinese Opera comes from the detail and order of its performing program. This unique performing program makes specific demands on the “performing space”. However, in Taiwan performing theaters have multi-functional “frame-style stages”. This not only limits the space and techniques of Chinese Opera, it also affects the relationship between the audience and the performers. This study looks through the historical changes and impacts that specific performing spaces have on the essence of Chinese Opera to assess the contemporary performing of Chinese Opera on the modern stage, in order to understand the influence of Western modernized theater space on Chinese Opera performing.

In the past, the Chinese Opera performing program itself determined the spatial requirements necessary for its specialty. The performing program adapted to the stage equipment and the needs of the audience. The modernized equipment and performing space has changed the Chinese Opera performing program. Changes in the viewing habits of audiences, and the influence of ways of viewing from Western theater have caused Chinese Opera to shorten its long drama into succinct sections or pieces. During a performance, the audience behavior is kept under control. This has detracted from the traditional way of viewing Chinese Opera that manifested the liveliness of social interaction. Modernized equipment has brought to Chinese Opera the use of a backdrop. However, the essence of Chinese Opera is the virtual, or invisible stage. The backdrop distracts the actors’ attentions, and also limits the original meaning context of Chinese Opera’s virtual stage that breaks free from the limitation of time and space. The use of microphones in modern Chinese Opera effects the actors’ performance, and also lowers the audience’s listening appreciation, since singing skill is a very important part of Chinese Opera.

The traditional Chinese Opera had different performing spaces according to the program and location. When Chinese Opera is performed on a modernized Western stage, the essence of the performance has to be redesigned according to modern theater. In Taiwan, however, the theater design industry lacks understanding of the aesthetic nature of Chinese Opera. Consequently, today’s Chinese Opera performance has to compromise its spatial requirement, which diminishes its performing quality. The conformity of the modern stage also reduces the options for Chinese Opera performance.

If the spontaneous and lively atmosphere of the traditional Chinese Opera performing space can be recreated today, then the specialty of Chinese Opera can show its aesthetic characteristic through the reformation of the space, and no longer have to be considered a developed art form based only on Western theoretical notions. Then, everyone can freely appreciate the essence of the Chinese traditional art of Chinese Opera. In the meantime, perhaps a solution can be found to the problem of the design of the performing space. This is a goal toward which we all should strive.

並列關鍵字

Taiwan performing theater ； Chinese Opera ； performance space ； theater ； Performance formula

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