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

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.

Abstract

1932年臺灣歌仔戲班「鳳凰男女班」至新加坡演出，是歌仔戲傳播至南洋最早的記錄。長久以來，南洋地區的歌仔戲都受到臺灣母體的影響。據筆者實地調查，目前新加坡尚擁有將近二十個在地職業閩劇（又稱福建戲，演出歌仔戲）團，從事「街戲」—廟會慶典中的酬神戲劇活動，其演出劇目有很大一部分來自臺灣，而且保留幕表戲「做活戲」的即興表演運作方式。

本文以新加坡歷史最悠久的職業歌仔戲班「新賽鳳」為例，探討在多種族混雜、全面英語化的環境下，新加坡歌仔戲對臺灣母體既有的主體，有多少繼承、轉化和創發？新內涵的產生，豐富了歌仔戲表演的樣貌，其生成的背景和因素，則交錯關聯，正是劇種現實處境的最佳寫照。本文首先透過實地採訪調查，概述新加坡在地民間職業歌仔戲劇團的數量和經營現況，並參酌文獻，分析「新賽鳳」劇團的歷史地位和重要性。接着，從一份珍貴的劇團內部資料，探究「新賽鳳」劇團「常演劇目」的成分和來源；並根據田野所見，以「新賽鳳」的《天倫夢》和臺灣「秀琴」歌劇團的《暗光鳥》對照，分析其對臺灣歌仔戲的接受和創發。

In 1932, the Phoenix (Hōng-Hông) Troupe made its Singaporean debut, marking not only the earliest recorded introduction of Taiwanese folk opera (kua-á-hì) to the ‘South Seas’ (Nanyang, a traditional term for Southeast Asia), but also the beginning of a local kua-á-hì tradition whose Taiwanese origins are discernable today. Today, Singapore is home to about twenty professional kua-á-hì (also known locally as Min opera, for a river in Fujian Province, or as Fujian opera) troupes. These troupes hold ke-hì (‘street theater’) performances to honor the gods during temple fair celebrations. Many of the operas in their repertoires originated in Taiwan, as did tsò-u h-hì (做活戲) or “extemporaneous performance.”

Taking Sin Sai Hong—Singapore’s oldest active professional kua-á-hì troupe—as a case study, this article will investigate to what extent kua-á-hì in Singapore has innovated upon its Taiwanese inheritance in an ethnically hybrid and today completely Anglicized environment. The production of innovative content in Singapore has enriched kua-á-hì performance, but the conditions of production are complex, illustrating the predicament of Singaporean kua-á-hì. This article will begin with an interview and survey-based overview of private professional kua-á-hì troupes in Singapore, addressing both number of troupes and management; and then move on to an analysis based on archival materials of the historical position and importance of the Sin Sai Hong Troupe. A precious internal archive has allowed an investigation of the composition and origin of the troupe’s core repertory. Finally, I describe the troupe’s reception and innovation of kua-á-hì through a comparison of Sin Sai Hong’s Thinn Lûn Bāng 天倫夢 (Dream of a Happy Family) and the Shiu-Kim Taiwanese Opera Troupe’s Àm Kong Tsiáu 暗光鳥 (Night Bird) as observed in the field.

Also in Journal of Chinese Ritual, Theatre and Folklore:

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.

http://ritualtheatreandfolkloreat.blogspot.tw/2013/04/blog-post_7500.html#more

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.
http://ritualtheatreandfolkloreat.blogspot.tw/2012/03/blog-post_27.html

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.

http://ritualtheatreandfolkloreat.blogspot.tw/2016/04/1950.html