台南市民俗性京調排場之研究

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題名:
台南市民俗性京調排場之研究
著者: 謝慧瑾; Hsieh, Hui-chin
黃世祝; Shih-Chu Huang; 鄉土文化研究所碩 / 博士班
主題: 京調; 排場; Peking opera aria; Pai-Chang
描述: 「排場」(pai5 tiunn5或ㄆㄞˊ ㄔㄤˇ)一詞，用於戲曲音樂方面，做音樂的正式演出型態解釋者，為台灣南北管文化圈所特有，其中又以北管最常使用。其以表演目的或弁鄖荌粥洃嚏A可分為藝術性與民俗性兩種。然而，在台南市及其週邊的京劇文化圈(主要為業餘曲館、票社)內，亦使用有「排場」(pai5 tiunn5或ㄆㄞˊ ㄔㄤˇ)此一語彙，也指京劇的「正式清唱演出」。本研究動機基於對目前僅見於台南市及其週邊之民俗性京調排場的兩點疑惑：其一，按京劇的形成地－－北京，雖亦有京劇的清唱演出，然不論為藝術性或民俗性，北京人都不稱為「排場」，那麼台南市京劇圈的排場語彙是如何得來的呢？代表了何種意義？其二，京劇在北京為地方劇種，流通於各階層間，上至清朝時的宮廷、下至販夫走族等。然而其傳播到其他地區後，尤其是台灣，因政治社會環境的緣故，常被視為中上階層的表演娛樂與政治化之工具，不論戲劇或清唱演出，以在室內商業劇場、堂會戲及戶外勞軍等為多，而戶外野台民俗廟會的演出為少，然台南市及其週邊地區的京調排場，卻常在民俗廟會場合演出。那麼台南市民俗性京調排場現象是如何形成的呢？其分布情況、內容與變遷又如何？代表了什麼意義？對於上述疑惑，查既有研究成果，不消沒有論述者，具體提即「京調排場」現象的可說沒有，基於此，有必要對台南市及其週邊之民俗性京調排場，不管是語彙來由或者其現象本身，做一番研究。本研究透過文獻、訪談、口述史、參與觀察等方法，以文化有機體之縱的發展概念為經，以民俗表演之橫切面各主客要素為緯，試圖先對此文化現象調查並推論出一概貌：台南市民俗性京調排場的形成，是在京調傳入台南，台南本地北管子弟改習或兼習京調後，結合北管音樂文化所固有的排場表演型態及民俗演出傳統，融合而成，形成時間至遲在日治晚期。而一些不同時期的外來京調人士(如原本生長於其他地區、後移住台灣的票友，和中國大陸琴師等等)，也曾透過與當地子弟的接觸，而習得或知曉「排場」語彙以及本地京調排場習俗者。此項音樂民俗表演在過往多由業餘子弟於神誕或民眾婚俗做壽時，對其有義務或交陪的廟宇及子弟間做酬酢性的演出，不收報酬；聆賞者多是京調同好與鄰近民眾，也有少數路過者；演出模式包括節目安排、樂隊編制皆有一定；表演意涵上以「扮仙」祈求神明賜福人間最為重要，因此排仙必不可少，且一定先於京調演唱。隨著時間推移，京調排場表演活動的各要素都有變動，惟變遷速度不一，大體而言，業餘表演者銳減，人們對酬神娛神節目的需求仍在，因此一些過往的業餘表演者遂逐漸轉型為職業表演者。此外，雖然表演意涵不變，但在職業表演人員少、又要適應市場的情況下，表演模式亦逐漸流於簡化、僵化。目前京調排場整體生態仍在轉變的過程中，而這種變化應與工商社會時間空間的被壓縮、事事追求專業化與尼Q化等因素有關。再者，據此概貌，在結論部分釐清其意義、定位以及其對台灣文化研究之啟示。台南市及其周邊之民俗性京調排場現象，可視為京劇研究與民俗研究的一環，然而對於台灣文化研究，除了其題材本身標誌了京劇的本土化與台灣民俗活動之新類型，進一步擴充整體台灣文化研究的內容外，更重要的是現象背後所反映的台灣文化的多元融合與妥協適應取向。台灣的海島地理位置與長期被不同文化背景政權所殖民的歷史，其文化自然容易隨社會環境改變而彈性適應變遷，呈現多元紛呈、多重覆疊的特色，因此展望未來，從事台灣文化研究應秉除單一觀點，保持一定程度之開放與客觀胸襟，方不忽視或誤識更多重要的文化現象。
The words “Pai-Chang“(Chinese)or “Pai5 Tiunn5”(Taiwanese) have many meanings. But when used in traditional opera or music and explained as a kind of formal musical performance, they are only applied in Taiwanese Peguan and Nanguan cultural circle, particularly in Peguan circle. There are two kinds of characters of “Pai-Chang” in terms of the function of the performance, namely artistry and folk custom. In Tainian city, “Pai-Chang”, which refers to the formal vocal performance without makeup and acting; nevertheless, is used by the amateur actors’ organizations of Peking opera as well. Such a phenomenon raises two questions: first of all, Although Peking, the origin of Peking opera, has vocal performance of Peking opera, “Pai-Chang” is never used, either artistry or folklore, therefore, how does this jargon hand down to the Peking opera circle in Tainan city ? And what does the vocabulary floating phenomenon mean ?Secondly, although in Peking, Peking opera is a kind of folk drama, which is popularized for everyone, from the noble family to the peasants, due to the political and social context, Peking opera in Taiwan used to be regarded as a political privilege for the upper class and is mainly an indoor performance. In Tainan city, however, “Pai-Chang” becomes an outdoor performance and is combined with folk activities. How does such a kind of culture being formed in Tainan city? How wide does this culture phenomenon spread ? And what are its content, change and meaning?This paper, therefore, examines the development of “the folklore Pai-Chang of Peking opera aria in Tainan city” through literature review, depth-interview, oral history and participant observation. The concept frame is culture organism as the vertical axle and elements of a folklore activity as the transverse axle. There are several significant findings about the general picture of this subject: During the late period of Japanese colonial era, Tainan local people who played Peguan music learned Peking opera aria and tried to bring Peking opera aria into the folklore Pai-Chang which was one kind performance and traditional custom of Peguan music. Some people who came from other places and played Peking opera aria had also known or learned “Pai-Chang”(this words and local custom) with touching Tainan local amateurs. “Pai-Chang” used to be performed by amateurs for worship of god or goddess or for seasoning and wedding celebration without rewards. Amateurs volunteered to perform “Pai-Chang” only for their duty temples and fraternity of Peking opera aria. The majority of the audience is people who perform or like “Pai-Chang” or who live nearby. There is a fixed pattern of the performance, including the repertoire and the arrangement of the band. The main meaning of this performace is to pray God’s blessings, therefore the procedure of “Ban-Hsian”(God imitating) is the most essential and ahead of Peking opera aria singing. With time goes by, the number of the amateurs has dropped; yet the demand for the worship ceremony remains; hence, some of the amateurs have been trained to become professional performers. Besides, although the idea and the meaning of “Pai-Chang” remains, the pattern of the performance has become simplified and rigid, which is because of the performers’ number decreasing and market adapting. Nowadays, the whole ecosystem of the folklore Pai-Chang of Peking opera aria in Tainan city keep changing, which is mainly influenced by the transition of the society(such as the time and space of the industrial and commercial society being compressed, and most people’s pursuing of specialization and utilitarianism etc.)According to the findings in this paper, the phenomenon can be regarded as the subject matter both of Peking opera and folklore studies. For the studies of the Taiwanese culture, however, the subject not only enriches the subject matters of the Taiwanese culture(signifies the localization of Peking opera and a new pattern of Taiwanese folklore), but also reflects the characters of diversification, integration, adaptation, and compromise of Taiwanese culture, which used to be influenced by different regimes and the historical contexts. Facing such a multicultural context, this paper thus suggests researchers should show an open-minded attitude toward the complex of the Taiwanese culture studies and then important phenomenon would not be ignored or misunderstood.
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建立日期: 2004
格式: 121 bytes
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語言: 中文
識別號: http://nutnr.lib.nutn.edu.tw/handle/987654321/4468
資源來源: NUTN IR

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台南市民俗性京調排場之研究

謝慧瑾; Hsieh, Hui-chin 黃世祝; Shih-Chu Huang; 鄉土文化研究所碩 / 博士班 2004

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