蔡欣欣。〈1960年代「牡丹桂閩劇團」新加坡演出印記〉。《民俗曲藝》194
(2016.12): 1-51。
Tsai Hsin-hsin. "Mu
Dan Gui Min Theater Troupe’s Performances in Singapore
Abstract
太平洋戰爭結束後，臺灣歌仔戲重啟前往東南亞商演的通路。1964年由臺南陳飛山與黃喜以南部「中華興」成員為班底，再邀集北部11位藝人組成的「牡丹桂閩劇團」，最常在臺灣歌仔戲史中被提及，因其成員俱都是南北著名藝人。審視「牡丹桂」與之前相繼被邀請的「新台光閩劇團」（1962）與「柏華閩劇團」（1964），其實有着相當的關係網絡，可由此檢視星馬的請戲機制與劇團的演員組合模式。本文結合報刊史料、期刊論著的「文獻」耙梳整理，戲單、照片與唱片等「實物」的蒐集考證，實地田野與口述歷史的「文化人類學」材料的訪談紀錄等「三重證據法」的研究策略，耙梳整理1960年代臺灣歌仔戲班，受邀出國公演的運作機制、成員組織、演出場域、劇藝類型與唱片錄製等歷史圖像，建構「牡丹桂」在新加坡的演出印記，為臺灣歌仔戲的東南亞海外傳播填補歷史縫隙。
After the Pacific War, the Taiwanese kua-a opera resumed its commercial performances in Southeast Asia . Mu
Dan Gui Min Theater Troupe, because many of its members were famous actors
and actresses, became a theater troupe that figured most prominently in the
history of Taiwanese opera. It was founded in 1964 by Chen Feishan and Huang
Xi. Their basic members were enlisted from the Zhonghua Xing Theater Troupe of Tainan,
and additional eleven ones from the North. Upon examining the inter-personal
relations between members of Mu Dan Gui,
New Taiguang (1962), and Baihua (1964) Min Theater Troupes, one
may detect a certain network that will help us explore the troupe-hiring
mechanism and patterns of troupe members’ composition in Singapore and Malaysia Southeast Asia .
Also in Journal of Chinese
Ritual, Theatre and Folklore:
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.
蔡欣欣。〈萌生與交疊：臺灣「拋採茶」之歷史景觀、表演套式與源流演化探析〉。《民俗曲藝》170 (2010.12): 81-141。
Tsai
Hsin-hsin. “The History, Performing Style, and Origin of “Throwing a Tea
Basket” in Taiwan