2018-12-25

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


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, Chen Meiying." Journal of Chinese Ritual, Theatre and Folklore 202 (2018.12): 59-131.

 Abstract

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, regardless of indoor theatre or outdoor temple fair performances, employ the ua̍h-hì extemporaneous performance as the primary mode of acting. The troupes in Singapore and Malaysia, having their roots in Taiwan, are no exceptions. “Play narration” is the preliminary stage of the ua̍h-hì mechanism. Most Play narrators, when orally delivering the content of the play, tend to more or less assume the function of a playwright and/or director. However, only very few are capable of writing up new plays using the scenario outline called tâi-sòo.
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. Originally from the famous troupe Xinsaifeng in Singapore, she once served as the leading female role of the famous Malaysian troupe Qilin. Her performance credentials stride over both Singapore and Malaysia. Often, at the request of the troupe owners, she would compose new plays. Currently, the existing number of scenario outlines attributed to her amount to 19 plays.
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, with Sin Sai Hong as a Case Study.” Journal of Chinese Ritual, Theatre and Folklore 191 (2016.3): 5-70.

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

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.