淺論平(京)劇檢場之興起

the Rise of Stage Design in Beijing Opera

廖燦輝(Tsan-Hui Liao)

《華岡藝術學報》 5期 (2000/07) Pp. 128-149

https://doi.org/10.6366/HKJTA.200007.0128

摘要

平(京)劇劇場的演出形式，乃是承傳我國傳統劇場虛擬、象徵、寫意、程式以及記號等性格而形成的。
傳統戲曲情節的流動，透過時空的幻化、場次的更替，建立了一套獨特的檢場制度。檢場與戲曲舞台、角色、臉譜、場面、砌末、行頭、龍套和表演等因素，融合成為一體，都是整體演出當中不容忽視的環節之一。
平(京)劇檢場興起的原因，歸於戲班、劇本、舞台與表演四個要件。檢場人由無到有，從兼差到專職，其間的演變歷程，都和戲班人員的多寡、情節的場次轉換、砌末的登台使用、劇場結構樣式乃至虛擬的表演手法息息相關。尤其傳統三面臨空的戲台，沒有大幕設置，先天上就註定要產生檢場的換景方式。

並列摘要

The performance art of Beijing Opera is originated from the characteristics of Pantomime, symbolic moments, abstract acting and stylized acting and semiotic unit in the traditional Chinese Theater.
The performing of the traditional opera helps set up the unique “Stage Design System” through the changes in time, space and scenes within the play. The stage design, the main characters, different categories of roles and painted faces, different kinds of orchestra, props, costume, minor characters--like servants, and the acting itself all play important roles in the play.
The rise of stage design is resulted from the four factors--theater groups, screenplays, the stage and the performance. The persons in charge of the change of the stage are from none to some and from part-time employment to full-time employment. Its rising history is related to the number of people in the theater group, to the scene and plot changes, to the prop arrangement, to the structures of the theater and to the Pantomime acting. Yet most important of all, the rise of the stage design is doomed because that the traditional stage is without a big curtain itage. It faces three sides of audience-in the front, left and right.