傅裕惠。〈歌仔戲現代劇場化的全面演練：試探幾種藝術節機制與場域對新編歌仔戲的影響〉。《民俗曲藝》218 (2022.12): 113-59。
Fu Yu-hui. “A Comprehensive Drill of Traditional Taiwanese Opera in Modern Theatre: Probing into the Effects on Its Original Creations from the Field and Mechanism of Several Theatre Festivals.” Journal of Chinese Ritual, Theatre and Folklore 218 (2022.12): 113-59.
Abstract
九○年代起，國家戲劇院（現隸屬2014 年成立的國家表演藝術中心）以及延續至今的企劃邀演，與2000 年之後財團法人國家文化藝術基金會主辦的「歌仔戲製作及發表專案」（2003–2012）、高雄市政府文化局的春天藝術節歌仔戲系列（2010–）與國立傳統藝術中心的臺灣戲曲藝術節和「戲曲夢工廠」（2018–）等節目，隨着現代劇場表演「機構化」，及現代劇場生產制度與專業分工的成熟，逐漸形成特定的「文化生產場域」。其中關係着作品生成的策劃（策展）、評審與評鑑機制，不僅直接影響臺灣歌仔戲的「正典化」，也因為臺灣文化官僚對所謂專家學者的倚賴與信任，形成了一批特定階層的觀眾。
現代劇場歌仔戲製作（文化場）的場域中，因為場域慣習的特殊地位與訴求別於常民口味的市場，形成對外的封閉性。這樣的文化生產編制可能會因為資本權力的影響，將損及藝術自主性的問題或現象，視為理所當然；甚者，形成至高的藝術品味，以致於模糊了民間職業戲班與文化場域不同的階級問題。本文試圖探討前述幾個重要的戲曲藝術節，就其評審評鑑制度詮釋其中的現代化發展；並從藝術節分派資源的審查機制與參與動員，嘗試論述所謂當代歌仔戲對生態影響的意義與內涵。
Since the 90s, programs such as “Xiqu Dreaming
Factory” and Taiwan Traditional Theater Festival (2018-) from National Center
for Traditional Arts in Taiwan and the National Theatre (now an affiliate of
the National Performing Arts Center established in 2014) and “Production
Projects for Outdoor Opera Troupes” (2003-2012) sponsored by the National
Culture and Arts Foundation since 2000, and the Spring Arts Festival Opera
Series (2010-) organized by the Bureau of Cultural Affairs for Kaohsiung City
Government, are all forming of “the fields of cultural production,” while the
“institutionalization” of modern theatre, including a fully developed industry
of its professional divisions of labor, is growing into its maturity. Due to
the development of the professional divisions of labor in modern theatre,
Traditional Taiwanese Opera is closely related to the “national symbol.” The
intellectual elite, motivated by the ideology of nationalism, has carefully
crafted the original works of the opera, which makes the meaning of
canonization evident. It is significantly related to the process of planning
(curation), review, and evaluation mechanism of the production of works, which
not only directly affects the “canonization” of Traditional Taiwanese Opera but
also forms a group of a distinctive class of audience, so-called experts and
scholars whom the cultural bureaucrats mostly put their trust in and reliance
on.
In the field of Traditional Taiwanese Opera in the
modern theatre (cultural field), a rather exclusive nature is created due to
the specific habitus and different demands from the taste of ordinary people.
Such a system of cultural production may dissolve the problems or dissipate the
tension that undermines artistic autonomy because of the influence of capital
power. Moreover, it has grown into a supreme artistic taste so that it could
possibly blur the class differences between the traditional outdoor opera
troupes and those related professionals in the cultural field (modern theatre).
This article attempts to study the above-mentioned art festivals and analyze
the development of their evaluation system for subsidization. Furthermore,
based on the review mechanism and mobilization of resources allocated by the
art festivals, I will try to demonstrate the significance and substance of the
so-called contemporary Traditional Taiwanese Opera and its ecological impact.
Also in Journal of Chinese Ritual, Theatre and
Folklore:
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.
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