從「傳仔戲」論臺灣亂彈戲裡的活戲演出

簡秀珍。〈從「傳仔戲」論臺灣亂彈戲裡的活戲演出〉。《民俗曲藝》181 (2013.9): 49-96。

Jian Hsiu-jen. “A Study on the Improvisational Performance in Taiwanese Luantan (Beiguan) Theater of 'Tuān-á-hì.'” Journal of Chinese Ritual, Theatre and Folklore 181 (2013.9): 49-96.

Abstract

從學者的研究與北管藝人的口述資料，均顯示在臺灣亂彈戲（北管戲）的發展過程中，曾出現活戲（幕表戲）的表演型態，相較於有總綱的正本戲（tsiànn-pún-hi），多被稱為傳仔戲（tuān-á-hì）。本文從現有研究成果、藝人觀點重新審視「傳仔戲」的定義，並探討演員的養成與北管傳仔戲演出的關係，再從實際搬演時前後場的配合了解他們如何掌握「活戲」的表演技巧。

觀眾喜好、表演場合、演員學習背景的差異影響「傳仔戲」的呈現。早年亂彈班在臺灣西部內臺戲院或長期連續酬神的環境中，將傳仔戲與正本戲 接續，演出故事完整的連臺本戲。但在以廟宇酬神為主的宜蘭地區，上演檔期多半僅一、兩天，沒有刻意挑選連臺劇目的習慣。分析「漢陽北管劇團」班主莊進才組團後參與的北管傳仔戲劇目，可知1970年代以降宜蘭地區「日演北管」，造成傳仔戲大量增加。其因在於出身亂彈戲班的成員有限，只得依賴其他劇種的演員說戲，演出混合四平、京劇、北管多種亂彈聲腔的戲曲，擴大「北管」原有的內容。從北管傳仔戲變遷的歷史脈絡裡，可以看到劇種在內外在環境改變下，力求生存的努力。

Judging from extant studies and the oral information given by the performers of the Taiwanese luantan (beiguan) theater, it has been held that the improvisational performance used to exist in Taiwanese luantan theater. This type of performance is frequently known as “tuān-á-hì,” which was based on a scenario chart and was opposed to “tsiànn-pún-hi,” performed in accordance with an oral-derived text. In the paper, I review extant scholarship and collect more performers’ opinions to redefine the term “tuān-á-hì.” At the same time, I try to discuss the relation between the actor’s training background and their performance on stage. I also analyze how the actors cooperate with the orchestra and handle the techniques of the improvisational acting.

The differences of the audiences’ tastes, the venues for the performances, the actors’ training background all influenced the performances of “tuān-á-hì.”

Before the 1970s, in the west part of Taiwan, the troupes of luantan theater played in indoor theaters or temples for more than 10 days each time, so they frequently connected some episodes from both “tuān-á-hì” and “tsiànn-pún-hi” to compose a long play which was performed in series. However, in the region of Yilan, the troupes didn’t link the two types of drama because the duration of a performance was generally less than three days and the performances accompanied the celebrations held at temples.

Having analyzed the matinee’s repertory of the Hanyang Beiguan Troupe in Yilan since 1974, we find that the chance to perform “tuān-á-hì” increases after the 1970s. The traditional troupes playing in Yilan used to “perform the beiguan theater for matinee,” but, at that time, few actors were trained by luantan troupes. As a result, most of the actors had to come from other theatrical troupes, and sometimes these actors even added new types of drama to enrich the repertory of “Hanyang.” In this case, the “beiguan theater” probably contained the music of siping theater, Peking opera and beiguan theater in one play.

From the development of the “tuān-á-hì” of beiguan theater, we can find how the Taiwanese luantan theater made efforts to survive in a changing world.