簡秀珍。〈從「傳仔戲」論臺灣亂彈戲裡的活戲演出〉。《民俗曲藝》181 (2013.9): 49-96。
Jian Hsiu-jen. “A Study on the Improvisational Performance in Taiwanese Luantan (Beiguan) Theater of 'Tuān-á-hì.'” Journal of Chinese Ritual, Theatre and Folklore 181 (2013.9): 49-96.
Judging from extant studies and the oral information given by the performers of the Taiwanese luantan (beiguan) theater, it has been held that the improvisational performance used to exist in Taiwanese luantan theater. This type of performance is frequently known as “tuān-á-hì,” which was based on a scenario chart and was opposed to “tsiànn-pún-hi,” performed in accordance with an oral-derived text. In the paper, I review extant scholarship and collect more performers’ opinions to redefine the term “tuān-á-hì.” At the same time, I try to discuss the relation between the actor’s training background and their performance on stage. I also analyze how the actors cooperate with the orchestra and handle the techniques of the improvisational acting.
The differences of the audiences’ tastes, the venues for the performances, the actors’ training background all influenced the performances of “tuān-á-hì.”
Before the 1970s, in the west part of
the troupes of luantan theater played
in indoor theaters or temples for more than 10 days each time, so they
frequently connected some episodes from both “tuān-á-hì” and “tsiànn-pún-hi” to compose a long play
which was performed in series. However, in the region of Yilan, the troupes
didn’t link the two types of drama because the duration of a performance was
generally less than three days and the performances accompanied the
celebrations held at temples. Taiwan
Having analyzed the matinee’s repertory of the Hanyang Beiguan Troupe in Yilan since 1974, we find that the chance to perform “tuān-á-hì” increases after the 1970s. The traditional troupes playing in Yilan used to “perform the beiguan theater for matinee,” but, at that time, few actors were trained by luantan troupes. As a result, most of the actors had to come from other theatrical troupes, and sometimes these actors even added new types of drama to enrich the repertory of “Hanyang.” In this case, the “beiguan theater” probably contained the music of siping theater,
Peking opera and beiguan
theater in one play.
From the development of the “tuān-á-hì” of beiguan theater, we can find how the Taiwanese luantan theater made efforts to survive in a changing world.