張啟豐。〈《王魁負桂英》的當代映象：以京劇、豫劇、歌仔戲編演為例〉。《民俗曲藝》209 (2020.9): 7-65。
Chang Chi-feng. “Contemporary Images of Wang Kuei’s Betrayal of Kuiying: Case Studies of Peking Opera,
Taiwan Bangzi Opera, and Kua-a Opera.” Journal of Chinese Ritual, Theatre and Folklore 209 (2020.9): 7-65.
Abstract
臺灣戲曲發展自1970年代起，面臨多重挑戰，但亦有所發展，在劇本寫作方面，或著重以劇作精神突顯時代特色，以主題內涵傳遞人文關懷，此可以俞大綱京劇劇本《王魁負桂英》（1970） 為著例，該劇首演後引發現代戲劇界與傳統戲曲界熱烈討論及好評，劇中深掘桂英內心，著重「情探」，郭小莊詮釋的焦桂英已成為其舞臺形象代表之一。豫劇《王魁負桂英》（1990），則由生活化角度層層營造，凸顯桂英為愛付出的專情形象，王海玲唱作俱佳所形塑的桂英，以「誓探」著重於質問與確認，不僅藉豫劇表演而有淋漓盡致的發揮，更標誌出桂英的主體位置。而廖瓊枝歌仔戲劇本《王魁負桂英》（1998），可知其以劇場實踐經驗為基礎、以演出為考量的編寫觀點，廖本情節多所創發，桂英形象亦有改轉，著重「事探」，廖瓊枝所詮釋的焦桂英，不僅為其代表作，更與自身生命經驗相映照。文中藉由釐析京劇、豫劇及歌仔戲之文本衍發、植基於文本的表演詮釋，以及演員各具特色的表演版本，不僅展現傳統戲曲同源異貌的當代映象，更標誌文本與表演在臺灣戲曲發展脈絡所代表的意義。
Since the 1970s, the development of Taiwanese Opera has
faced multiple challenges as well as progression. In terms of playwriting,
there is an emphasis on highlighting characteristics of the epoch with themes
on humanities. Yu Dagang’s play, Wang
Kuei’s Betrayal of Guiying (1970) in Peking Opera, is an illustrative
example. The play debuted with all-around critical acclaim. It probes into the
inner world of Guiying, elaborating on her feelings. The actress Guo
Xiaozhuang’s interpretation of Guiying becomes her signature role on stage. The
Taiwan Bangzi Opera’s version of Wang Kuei’s Betrayal of Guiying (1990)
highlights Guiying’s devotion with layers of perspectives accumulated from
daily life. Wang Hailing’s performance of Guiying features sophisticated singing
and choreography. The plot leans towards investigation and confirmation. It not
only witnesses the fully-unleashed art of Taiwan Bangzi Opera, but also highlights Guiying’s subjectivity. Liao
Qiongzhi’s Wang Kuei’s Betrayal of
Guiying (1998) in kua-a opera is
a script based on her experience in theatre with an editorial perspective that
takes into consideration her actual practice on stage. Liao’s version of script
showcases creative adaption and modified image of Guiying, placing more weight
on examining circumstances of events. Liao’s interpretation of Guiying is one
of her personal masterpieces, corresponding to her own life experience. By
analyzing the textual derivation of the three plays, their interpretation, and
individual performer’s acting, this study demonstrates the various facets of
traditional opera in contemporary time. In addition, it explicates the signi
Also in Journal of Chinese
Ritual, Theatre and Folklore:
張啟豐。〈乾隆時期（1736-1795）臺灣戲曲活動管窺〉。《民俗曲藝》146 (2004.12): 5-50。
Chang Chi-feng. “A
Study of Taiwanese Theatre in the Qian-Long Period (1736-1795) of the Qing
Dynasty.” Journal of Chinese Ritual, Theatre and
Folklore 146 (2004.12): 5-50.