2009-09-28

政治與戲曲:1950年代「戲曲改革」對中國地方戲曲劇種體質的訂製及影響

林鶴宜。〈政治與戲曲:1950年代「戲曲改革」對中國地方戲曲劇種體質的訂製及影響〉。《民俗曲藝》165 (2009.9): 47-88
Lin Ho-yi. “Politics and Traditional Theater: The Influence of the 1950s 'Theater Reform' on Local Theaters’ Developments and Their Formations of Theatrical Typology.” Journal of Chinese Ritual, Theatre and Folklore 165 (2009.9): 47-88. 

Abstract

東方世界追求物質文明「現代化」已超過百年,大陸的傳統戲曲劇種至今尚能維持可觀的數量,這或者可以視為1950年代「戲曲改革」的正面效益,同時也是「百花齊放」方針被執行得最為徹底,甚至是「唯一」徹底的面向。
然而,由於共產黨自革命初始,以戲曲做為政治宣傳工具的本質未曾改變,「戲曲改革」成為因應政治操作的全面文化改造之一環,因而留下了許多問題。有關「戲曲改革」的專題論述,到目前為止,多偏重歷史過程、劇目及表演藝術。本文從劇種學的角度,集中探討1950年代「戲曲改革」的信念背景、對於保留傳統戲曲劇種所達到的正面績效、其所採取的各種強悍的方式和措施,及所造成的影響和問題。
1950年代的「戲曲改革」,到之後的「十年文革」,乃至到今天,改革的工作都沒有停止過。漫長過程中,最重要的奠基期,實為1950年代的一段時間。在力圖振興戲曲藝術之際,正視問題徵結,才是解決之道。而根本答案,也許正在這些劇種經歷巨大變化的1950年代。
For over a century, the East has been engaging in the pursuit of material cultural in the name of “modernization.” China is no exception. The fact that traditional theater in China still retains a considerable number of genres is probably a positive result of the “Theater Reform” in the 1950s. It is also the one and only area where the Baihua qifang (Let a thousand flowers bloom) policy was carried out to the fullest extent.
However, ever since the beginning of the Communist Revolution, the principle to employ theater as a tool of propaganda has never been changed. Theater Reform became a stage for the politically-maneuvered cultural reform and led to a series of problems and complicated issues. Studies on the Theater Reform, up to now, have chosen to focus on its historical process, the repertoire and performance arts. The present article, with a perspective on genre studies, concentrates on exploring the conceptual background of Theater Reform, the positive effects reached by the preservation of traditional theatrical genres, the drastic measures it took, and the impact and problems thus created.
From the Theater Reform of the 1950s to the 10-year Cultural Revolution, the traditional theatre had undergone a series of changes. During this long process, the reform never stopped. In retrospect, the period that laid the foundation for Theater Reform hinged on the 1950s. In recent time when all strive to revive the theatrical arts, it is crucial that we approach the core of the issue to understand in the historical context of Theater Reform. The answer may lie in the reform movements of the 1950s when the genres underwent significant transformations.

Also in Journal of Chinese Ritual, Theatre and Folklore:

林鶴宜。〈從演出劇目看新加坡在地職業劇團對臺灣歌仔戲的接受和創發──以「新賽鳳」為例〉。《民俗曲藝》191 (2016.3): 5-70
Lin Ho-yi. “A Performance Repertoire-Based Investigation of Innovation in Taiwanese Folk Opera by Professional Troupes in Singapore, with Sin Sai Hong as a Case Study.” Journal of Chinese Ritual, Theatre and Folklore 191 (2016.3): 5-70.

林鶴宜。〈中西即興戲劇脈絡中的歌仔戲「做活戲」:藝術定位、研究視野與劇場運用〉。《民俗曲藝》179 (2013.3): 123-84
Lin Ho-yi. "’Spontaneous Performance’ in Taiwanese Opera in the Context of Improvisational Theater: Artistic Position, Research Perspective, and Dramatic Practice." Journal of Chinese Ritual, Theatre and Folklore 179 (2013.3): 123-84.

林鶴宜。〈臺灣歌仔戲「做活戲」的演員即興表演與劇目創作參與〉。《民俗曲藝》175 (2012.3): 107-75
Lin Ho-yi . "Improvisational Performance and Creative Involvement in Taiwanese Gezixi Opera." Journal of Chinese Ritual, Theatre and Folklore 175 (2012.3): 107-75.
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