林鶴宜。〈庶民美學的傳遞、轉化與創造：新加坡職業歌仔戲講戲人陳美英的「臺數」編劇〉。《民俗曲藝》202 (2018.12): 59-131。
Lin Ho-yi. "The Transmission, Transformation and Innovation
of Commoners’ Aesthetics: On the Scripts of a Professional Play Narrator in Singapore
臺灣民間職業歌仔戲無論在「內臺」的商業劇場或「外臺」的廟會劇場，主要都採用「做活戲」的方式運作它的表演。新、馬地區的職業歌仔戲傳承自臺灣，自然也不例外。「講戲」是歌仔戲「做活戲」運作的開始，大部分的講戲人在傳遞劇目的同時，都或多或少帶有編劇和導戲的實質，但只有極少數的講戲人能夠以「臺數」編創新劇目。
陳美英是新加坡在地歌仔戲班「新鳳珠」和「四季春」的苦旦演員兼講戲人，她出身新加坡名班「新賽鳳」，又曾擔任馬來西亞名班「麒麟」的當家苦旦，演出經歷跨越新、馬兩地。她常應班主要求編創新劇目，編劇甚多，目前保留有情節概要的「臺數」（幕表）劇本有19齣之多。
本文從陳美英女士幕表編劇的養成過程、題材關注與動機、手法與技巧、編劇風格等入手，探析陳美英如何結合自身生命經驗和在地文化滋養，像許多民間編劇一樣，一步一腳印的充實歌仔戲的內涵，並檢視其做為新加坡女性編劇和演員，有別於臺灣歌仔戲幕表編劇的特色。
The professional gezixi
troupes in Taiwan Singapore
and Malaysia , having their
roots in Taiwan
Chen Meiying is a female lead specializing in tragic roles, who
also doubles as a play narrator of gezixi
troupes, Xinfengzhu and Sijichun in Singapore Singapore Singapore
and Malaysia
In this study, I start with the development of Ms. Chen
Meiying’s expertise in composing scenario outlines, her motivation, preference
of subjects, and her approaches and techniques. I analyze how, just like many
folk playwrights, Chen Meiying integrated her own life experience with the
nourishment she assimilated from local culture to enhance the content of gezixi theatre one step at a time. I
also examine how, as a female playwright and actress in Singapore , she used scenario outlines which
exhibit characteristics that are different from those of the gezixi theatre in Taiwan
Also in Journal of
Chinese Ritual, Theatre and Folklore:
林鶴宜。〈混雜與交融的「傳統」想像：馬來西亞在地職業戲班「麒麟」閩劇團歌仔戲劇目及演出觀察〉。《民俗曲藝》198 (2017.12): 63-126。
Lin Ho-yi. "The Intertwined and Integrated Imaginations of 'Tradition':
Some Observations on the Repertoire and Performance of Kî-lîn (麒麟) Professional Hoklo (Min) Opera Troupe in
Malaysia." Journal of Chinese
Ritual, Theatre and Folklore 198 (2017.12): 63-126.
林鶴宜。〈從演出劇目看新加坡在地職業劇團對臺灣歌仔戲的接受和創發──以「新賽鳳」為例〉。《民俗曲藝》191 (2016.3): 5-70。
Lin
Ho-yi. “A
Performance Repertoire-Based Investigation of Innovation in Taiwanese Folk
Opera by Professional Troupes in Singapore
林鶴宜。〈中西即興戲劇脈絡中的歌仔戲「做活戲」：藝術定位、研究視野與劇場運用〉。《民俗曲藝》179 (2013.3): 123-84。
Lin
Ho-yi. "’Spontaneous Performance’ in Taiwanese Opera in the Context of
Improvisational Theater: Artistic Position, Research Perspective, and Dramatic
Practice." Journal of Chinese
Ritual, Theatre and Folklore 179 (2013.3): 123-84.
林鶴宜。〈臺灣歌仔戲「做活戲」的演員即興表演與劇目創作參與〉。《民俗曲藝》175
(2012.3): 107-75。
Lin
Ho-yi . "Improvisational Performance
and Creative Involvement in Taiwanese
Gezixi Opera." Journal of
Chinese Ritual, Theatre and Folklore 175 (2012.3): 107-75.
http://ritualtheatreandfolkloreat.blogspot.tw/2012/03/blog-post_27.html
http://ritualtheatreandfolkloreat.blogspot.tw/2012/03/blog-post_27.html
林鶴宜。〈政治與戲曲：1950年代「戲曲改革」對中國地方戲曲劇種體質的訂製及影響〉。《民俗曲藝》165 (2009.9): 47-88。
Lin
Ho-yi. “Politics
and Traditional Theater: The Influence of the 1950s 'Theater Reform' on Local
Theaters’ Developments and Their Formations of Theatrical Typology.” Journal of Chinese Ritual, Theatre and Folklore 165 (2009.9): 47-88.