傅裕惠。〈九〇年代以來歌仔戲「正典化」的美學現象〉。《民俗曲藝》209 (2020.9): 67-110。
Fu Yu-hui. “The Aesthetics of Canonization in Traditional
Taiwanese Opera since 1990s.” Journal of
Chinese Ritual, Theatre and Folklore 209 (2020.9): 67-110.
Abstract
本文試圖歸納九○年代以來，臺灣歌仔戲如何透過現代劇場體制的生產過程，在又一種「定型化」的嘗試中，建構「正典化」的作品。最重要的是，梳理九○年代之後的歌仔戲，如何回應國族主義興起的社會氛圍，透過政策補助與知識菁英介入，標誌了今天歌仔戲被「正典化」的傾向。
當代歌仔戲的「正典化」，隱含着不同面向的定義、內涵與觀察。在現代劇場的專業體制下，編導概念透過設計分工被更為強化，完全有別於幕表戲信手拈來或是隨機採用素材的手法。本文將舉2000年由編劇楊杏枝以「甘國寶過臺灣」故事原型重新編作的歌仔戲、陳美雲歌劇團製作的《刺桐花開》、2001年河洛歌子戲團改編莎劇《羅密歐與茱麗葉》的《彼岸花》，和2012年唐美雲歌仔戲團的《燕歌行》等製作為例，試着陳述歌仔戲「正典化」如何在不同的分工脈絡下，被「有默契地」集體呈現。
This essay attempts to summarize how Taiwanese Opera (gezaixi) in modern theatre have been
canonized and how some of the works have been constructed in the aesthetics of
“canonization” through the “institutionalization of the scripted system,” while
Taiwanese Opera itself is also responding to the national identity of Taiwanese
nationalism. The most important thing is how public subsidies and the
intervention of intellectual elites have transformed the tendency of
“canonization” since the 1990s.
The “canonization” of Taiwanese Operas in modern theatre involves many different phases of difinitions, implictions, and observations. Under the industrialized system of modern theatre, the concept of the work is constructed and finalized by the team of professionals. That is completely different from the improvisational performing system in traditional Taiwanese Opera, which is unique and has been passed down from generation to generation. It is imperative to examine the works of “canonization” and the politics in the aesthetic, along with the emerging political consciousness of nationalism and localization. My views will be illustrated by three productions of traditional Taiwanese Operas: India Coral Reblossoming by Chen Mei-yun Taiwanese Opera Troupe in 2001, A Story of Love and Feud by Holo Taiwanese Opera Troupe in 2005, and Deathless Beauty by Tang Mei-yun Taiwanese Opera Troupe in 2012.