戲曲贊助與街戲的變遷：以新加坡韭菜芭城隍慶典為例

余淑娟。〈戲曲贊助與街戲的變遷：以新加坡韭菜芭城隍慶典為例〉。《民俗曲藝》155 (2007.3): 227-64。

Yee Sok Kiang. “Theatrical Patronage and the Social Changes of Street Opera: A Case Study of the Lorong Koo Chye Sheng Hong Temple Festival in Singapore.” Journal of Chinese Ritual, Theatre and Folklore 155 (2007.3): 227-64.

 Abstract

1970年代中葉，新加坡社會興起一股討論街戲存亡的風潮，政府高層乃至市井小民，咸以為華族戲曲已步入一個沒有觀眾的時代。1980年代以降，新加坡韭菜芭城隍廟卻因演出華族戲曲檔期之多，成為戲曲贊助者和觀眾最多的華族廟宇。在一個年輕人普遍接受英式教育，且華文傳統文化普遍沒落的新加坡，韭菜芭城隍廟卻能在單一慶典上，創造出演出上百日的佳績，誠屬不易。本文擬以韭菜芭城隍廟的案例，從「戲曲贊助」的角度思考街戲的功能，街戲的演出目的？贊助街戲演出的是誰？街戲的觀眾是誰？贊助者對街戲的演出有何影響？街戲的這種贊助方式是否有階段性的差異？等諸多問題。試圖透過這些問題的解答，以回應當地盛行的「沒有觀眾的戲劇演出如何成戲劇」的論述，並給與街戲一個較為正確和公允的評價。本文將以近年捐助「清溪顯佑伯主聖誕」的街戲贊助者和演出劇團為主要素材，配合筆者的實地觀察，探討廟宇（宗教建制）、贊助者、戲曲劇團三者的互動關係，以呈現街戲這類戲曲演出形式的宗教和文化意義，以及街戲近二十年來的變遷風貌。

The status of street opera was a subject of debate in the mid-1970s in Singapore. It was widely believed in the general public and government officials that this street opera, performed in various Chinese dialects, had been entering an audience-less age. Since the 1980s, however, the Lorong Koo Chye Sheng Hong Temple has become the Chinese temple receiving the best financial patronage and attracting the largest audience because of its frequent scheduling of Chinese opera. In a country where young people mostly receive English education and where Chinese tradition is on the wane, it is remarkable that the Lorong Koo Chye Sheng Hong Temple set a record of staging opera in 100 consecutive days for one single festival.

This paper examines Lorong Koo Chye Sheng Hong Temple as a case study and considers the following issues from the perspective of "theatrical patronage," for example, the functions of the street opera, the audiences and the patronage of the opera and its influences, if the patronage changes from time to time. In addressing these issues, I respond to the prevalent discourse of "how could an audience-less theatrical performance be called theatre?" and give a more accurate and fair evaluation of the street opera.

This paper mainly studies the patronage and theatrical troupes of "Sacred Birthday of the Magnificent and Protective Lord of the Clear Creek." (Sacred Birthday of Qing Xi Xian You Bo Zhu) Based on my own field observation, I explore the three-way relations between temple (religious institution), patrons, and theatrical troupes, to present the religious and cultural meanings of such opera performances as well as the transitions within the last twenty years.

Also in Journal of Chinese Ritual, Theatre and Folklore:

余淑娟。〈潮州外江戲的傳播組織：新加坡餘娛儒樂社〉。《民俗曲藝》191 (2016.3): 71-108。

Yee Sok Kiang. “The Media of Chaozhou Wai-jiang Opera: Er Woo Amateur Musical and Dramatic Association, Singapore.” Journal of Chinese Ritual, Theatre and Folklore 191 (2016.3): 71-108.

http://ritualtheatreandfolkloreat.blogspot.tw/2016/04/blog-post_28.html

余淑娟。〈馬來西亞的道教拔度儀式與目連戲〉。《民俗曲藝》151 (2006.3): 5-29。

Yee Sok Kiang. “Taoist Ritual of Soul Salvation and Mulian Drama in Malaysia.” Journal of Chinese Ritual, Theatre and Folklore 151 (2006.3): 5-29.

http://ritualtheatreandfolkloreat.blogspot.tw/2016/04/blog-post_21.html