蔡欣欣。〈試論奠基歌仔戲活戲養分的「真本歌仔」《山伯英臺》〉。《民俗曲藝》181 (2013.9): 97-166。
Tsai
Hsin-hsin. “On
the Foundation of Improvisation in Taiwanese Koa-á Opera: 'Genuine Koa-á,' Shanbo and Yintai.” Journal of Chinese Ritual, Theatre and Folklore 181 (2013.9): 97-166.
Abstract
部分資深歌仔戲藝人，提及在啟蒙學戲階段，由師傅以代代相傳的「真本歌仔」，作為訓練唸白、作韻、唱腔、作表等表演技藝的基礎教材，通過記誦熟背與模仿演練，成為奠定「腹內」功底與即興「作活戲」的養分。這類「真本歌仔」源自於「歌子冊」說唱文本，繼承傳統民間歌謠「四句聯唱念」形式，在藝人加工錘鍊與舞臺實踐演出後，逐漸形成劇情固定、段落分明、唱詞定型的文本，以「文戲」與「古路戲」為主；而二戰後競爭激烈的內台歌子戲劇壇，更發展出由演員靠腹內自編自演，或特邀編劇來構思編排，以「八句聯對答」為訴求的「真本歌子戲」。
本文中以「真本歌仔」《山伯英臺》為具體研究對象，分析戲齣中如〈嘆五更〉、〈思君歌〉、〈哭尪歌〉、〈買菜歌〉與〈十二碗菜〉等「插曲」唱段，其可由藝人自行發揮應用，或純就豐富表演與調劑情需要穿插在戲齣中；然亦可以搭配特定情節或場景，展示抒情或敘事的功能性，甚至可作為表演套路的特定唱段，發展出如〈草橋結拜〉、〈學堂拜先生〉、〈遊西湖賞花〉、〈英臺病相思請醫〉、〈山伯病相思開藥方〉、〈王婆開店〉、〈英臺刺繡〉與〈安童哥買菜〉等各類「㨻頭」，通過習藝模仿到「刻模子」定型，可套用或活用到相關戲齣情節中。
When
senior performers of Taiwanese Koa-á
Opera recalled their early years of apprenticeship, they often mentioned a
manuscript of “genuine koa-á,” which
was passed down in their troupes from generation to generation. The genuine koa-á had to be memorized by heart and
practiced constantly. It was regarded as the essential training for theatrical
competence (such as reciting, rhyming, singing, and acting) that nourished a
performer’s virtuosity and artistry to improvise. The “genuine koa-á” originated from “koa-á chheh” (a booklet of koa-á verses used for acting and
singing), with the traditional narrative form of “sì-kù-liân” (the “four verse stanza” for singing and reciting). It
was integrated with the performers’ artistry and expertise and gradually became
texts with fixed plots, accompanying music and lyrics. Among these texts, the “kóo lōo” repertoire (historical drama
and stories of heroes) and the “bûn” repertoire
(lyrical drama) are the more important ones. With the keen competition within
the “indoor stage” Taiwanese Folk Opera after WWII, the troupes further
developed a new type of “genuine koa-á”
that featured eight-verse stanzas, composed by the performers themselves or professional
playwrights.
This
study analyzes several episodic arias (chhah
khek) from the “genuine koa-á” Shanbo and Yintai. The performers make
use of these episodic arias when circumstances call for refined acting or
humorous effect. Alternatively, the episodic arias serve to complement certain
scenario or specific type-scene. Either lyrical or narrative, they become components
of performance formulas (cham thâu).
When a performer masters the content of cham
thâu and has them imprinted mentally, he or she can apply them onto related
or similar drama plots.