| 摘要: | 北管是台灣流傳最廣遠的樂種與劇種，也是台灣繼承大陸漢人音樂的最大宗，其內涵主要圍繞著戲曲演出，並兼及「排場」(坐樂)絲竹、清唱及迎神賽會等吹打遊藝表演，內容多元豐富，而其中亂彈正是北管戲曲當中最主要的部分。 戲曲史上的亂彈，本就屬多聲腔的泛稱，加上台灣在移民史上不斷吸收大陸非一時一地的聲腔與音樂，經長期堆疊演化，已自成一格。然因文獻與民間對北管、亂彈的混用甚至誤用十分嚴重，以及劇班的快速流逝，導致台灣的北管研究仍有許多模糊及空缺部分。 筆者生於北管戲曲世家，自小在梨園中長大，雖然耳濡目染，但及長因愛好文藝創作，及亂彈班迅速沒落等因素，未能選擇表演生涯，而投身文化新聞報導工作達十餘年。然有感於文建會一九八二首辦「民間劇場」掀起北管研究的熱潮，歷經近廿年的發展，卻無改北管戲曲沒落、藝人凋零殆盡的現實，加以前人著述及研究或以民間風俗視之，或就當中部分音樂現象加以研究，少有深入且宏觀的分析及研究，筆者基於北管的一分子，企圖結合民族音樂學、文化人類學的理論及現存藝人的口述及田野調查，以還原光復初期台灣亂彈班的演劇活動、經營管理、學戲生活及審美要素，釐清光復後北管的發展意義及種種戲曲行為。 本文大多數的資料來自田野經驗。台灣亂彈藝人從光復之初尚有近兩百位伶人，迄今僅剩十人左右，其凋零的速度令人慨嘆，人們眼見傳統戲曲文化的消亡卻仍如此無力。現存藝人王金鳳、林阿春都值古稀之年，連最末一批進入劇班學戲的潘玉嬌、劉玉鶯，亦六十有六，訪問調查的工作，猶如與時間競逐，也像夸父追日。 論文先就文獻資料提出解釋、探索，以釐清北管、亂彈的定義，並就前人研究成果做批評。主要內容則以「歷時性」和「共時性」來探討亂彈班之發展，在歷時性的部分除檢討前人研究北管亂彈的成果外，主要從日據以迄光復以來的社會及劇班活動探討此一階段的傳承與發展。共時部分則以戰後幾個劇班彼此的表演形態、經營及藝人的互動，探索戲班之間的審美與經營觀。
Bei Guan (Chinese Pipe), being the most far-reaching and popular musical instrument and opera genre here in Taiwan, is also the mainstream music that people on Taiwan have inherited from Chinese on the mainland. The primary content of such a musical genre includes the performance wind and string performance at the backstage, solo, and percussion and amusement performance conducted at the god-welcoming tournaments gathering. The substances of this such musical is most diversified and rich, and Lyuan-Tam is of the major component of Bei Guan opera. Lyuan-Tam as seen from the opera history has been long considered as the secularized term for polyglot, and it has developed itself to create its own features after long-term of cultural accumulation and evolution as immigrants to Taiwan have been picking the singing and voices of the genre from its mainland origin. However, since there has been a long period of misuse and confusion with regard to literatures and Bei Guan as well as to the fast dying of opera troupe, it has rendered a great part with respect to the research of Bei Guan that remains to be empty and fuzzy. Though the author, herself born to the family of Be Guan and raised within in the environment of opera, has been soaked with the genre since childhood, she didn’t choose opera performance as her career because she loves writing even more and because of the fast decline of Lyuan-Tam. Until now, the author has devotes herself in the area of writing for more than a decade. Nevertheless, with the fervor for Bei Guan research stirred by “folk theatre” which was first held by the Cultural Construction Council 1982, the research for Bei Guan after development for two decades remains unable to draw back its decline as well as the past away of its performers. Besides, hardly is there any macro-analysis or research has been done on this genre as most of the studies of the predecessors either considered Bei Guan as a kind of folklore or took only a certain part of the musical phenomenon from I for study. As from the perspective of the author, it is attempted to integrate the ethnomusicology, the theory of cultural anthropology, and oral and field investigation of living Bei Guan performer in order to recover the performance activity, administration and management, opera apprenticeship, and aesthetics factors that existed in Lyuan-Tam troupe before the recovery of Taiwan. And the purpose of which is to clarify the meaning of development of Bei Guan after the recovery of Taiwan and its relevant opera behaviors. The materials found in this paper are mostly obtained from field investigation. At the time when Taiwan was first recovered, there were as many as about two hundred performers, only there are now about ten lefts with the fleeting passage of time. In view of such a fast dying opera, it seems that there is not much we can do about it. Living performers such as Wong Chin Fong and Lin Ah Chang are more than seventy of age, while the last lot of apprentices to the opera as Pang Yu Chiu and Liu Yu Ying are as old as sixty-six. Thus, we can see that the work of field investigation is like a running course against time, not a minute can be wasted. At the beginning, the literature will be explained and explored in order to clarify and define what is Bei Guan and Lyuan-Tam, and render criticism on the research results of the predecessors. The content of this paper will focus on exploring the development of Lyuan-Tam in synchronicity and diachronicity terms. With respect to the part of diachronicity, the focus will be placed on the study of development and inheritance of this genre from the perspectives of the society and troupe activity starting from Japanese Occupoation to Taiwan Recovery. As for synchronicity, the focus will be placed on the aesthetics and management among troupes, the interaction of performers, and the performing manner and management of several troupes after the WWII. |
