陳歆翰。〈電視歌仔戲「新調創作」的傳統、承襲與轉化：以劉文亮作品《天龍傳奇》為例〉。《民俗曲藝》209 (2020.9): 111-29。
Chen Hsin-han. “Tradition, Convention and Transformation of TV Gezixi: A Case Study of Dragon Legend by
Liu Wenliang.” Journal of Chinese Ritual, Theatre and
Folklore 209 (2020.9): 111-29.
Abstract
「電視歌仔戲」是歌仔戲與媒體結合的黃金產物，透過科技的複製與傳播，戲曲表演本質隨着「電視化」的加深而改變，形塑出有別於劇場藝術的表演美學。其「音樂內容」在前人豐沛的創作能量中也譜出璀璨耀眼的成績——承襲內臺、廣播歌仔戲的「傳統」程式，發展出「創新」的慣性與特色，進而影響歌仔戲進入現代劇場與外臺民戲的音樂操作，其審美、觀念及手法皆得傳襲與仿效，也留下諸多藝術結晶供後進學習研究。
而電視歌仔戲於1990年代走向沒落，自2003起，僅有陳亞蘭2012年於民視製播《天龍傳奇》一部作品問世，作為十年間「前無古人、後無來者」的曙後星孤，在電視歌仔戲命懸一線的時刻，有何企圖與作為？
本文鎖定以電視歌仔戲「曲調創作」的動機與運用轉化為探討核心。在論及「電視歌仔戲」音樂現象之前，首先探析「電視新調」與「卡拉」的音樂程式、創作類型、曲調風格與當代體現，進而聚焦電視歌仔戲《天龍傳奇》之音樂內容，與劉文亮先生編創全新曲調的手法與風格，從中觀察電視歌仔戲音樂生態，對後來歌仔戲作品依循其音樂內涵所產生的影響與實例。
TV gezixi is the optimal combination of gezixi and mass media. Through the
reproduction and transmission of technology, the nature of gezixi opera performance evolved with the increase of TV influence,
formatting a performance aesthetics that is different from that of theatre
arts. The caliber of TV gezixi music
accumulated from generations of predecessors’ exuberant energy also shone
through. It followed the convention of inner stage and radio gezixi and developed a feature of newly
composed tunes. That feature also affected its musical practice once it entered
modern indoor and outdoor stage theatres. It not only inherited traditional
aesthetics, concepts and techniques but also left numerous works of high
artistic value to be appreciated by successors.
The TV
gezixi has fallen into decline in the
1990s. Since 2003, there has only been one work: The Dragon Legend, produced by Chen Yalan in 2012. As the single
instance within the decade, in an age when TV gezixi nearly went extinct, what was the aspiration of this
production?
The purpose of this study is to explore the motivation and modified usage of newly composed tunes in TV gezixi. I first analyze the musical formula, patterns of creation, tune styles and modern implementation of new TV gezixi tunes and Karaoke. Then I concentrate on discussing the music content of TV gezixi Dragon Legend, and composer Liu Wenliang’s brand new take on composing gezixi tunes. Then I remark on the music ecology of TV gezixi and its influence on succeeding works that adopt its tunes.