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研究生:
范韻青
學位類別:
碩士
校院名稱:
臺北市立師範學院
學年度: 91
[摘要]
從「情」、「意」觀點探討客家改良採茶大戲以＜乞米養狀元＞等十二齣戲為例
本論文酌分十一章，從「情」、「意」觀點去探討客家改良採茶大戲。先從探析客家小戲到大戲流變著手，進而藉由演出形式之介紹將劇情概分六大類，來探討客家改良採茶大戲「情」與「意」之戲劇情感。章節的安排為：
第一章緒論部分將針對研究動機及目的、相關文獻探討、研究範圍和方法以及關鍵詞等提出說明。
第二章開始從表演形式與文武場音樂兩方面去探究比較客家三腳採茶小戲到改良採茶大戲的遞變情形，並進一步針對演出方式、人物造型、道具、場地、各時期上演之戲齣來探討改良採茶大戲的演出形式，並就演員唱、唸、作、打結合情感演出之表現，說明客家改良採茶大戲之濃情密意。
第三章主要析述戲劇「情」、「意」之於客家改良採茶大戲，透過中、西方學者專家關於劇情、劇意的立論，分析喜、怒、哀、樂之情感在客家改良採茶改良大戲中所營造之戲劇氛圍，同時也透過其它同期在台灣發展之地方劇種，分析中國傳統地方戲曲之共通性，並說明客家改良採茶大戲與其它劇種之交流狀況。
從第四章到第九章分別依題材將大戲概分為講史、神怪、愛情、義勇、公案、親情倫理等六類，再於各類下各舉出二戲齣為例，除了詳述劇情外，並儘可能將探究故事源流、賞析劇情安排及人物個性之塑造，再探討每一齣戲之戲劇主題，整理紀錄每一齣戲所唱唸的勸戒詞及其它俚俗語，藉以探究各類劇情、劇意之「情」與「意」。
第十章則對客家改良採茶大戲之價值及未來發展提出建議，價值方面分別從音樂、內涵、演出、劇情四點加以論述；建議方面則提出採取國劇和歌仔戲成功的經驗做為借鏡，希望客家戲曲也能在不違背劇種特性的條件下求新求變，也期待在九年一貫教育理念之藝術與人文中播下客家戲曲的種子。
第十一章結論則將本論文各章節研究重點作一總體說明，並抒發個人之研究心得。
A Study of
Hakkanese Revised Tea-Leaf Picking Opera based on “Emotions” and
“Meanings”
---------Examples from 12 plays This dissertation is divided into
eleven chapters to discuss Hakkanese revised Tea-Leaf picking opera
from the viewpoints of “emotions” and “meanings”. Beginning from an
analysis of the change from Hakkanese Mini Opera to Grand Play, an
introduction of the performance types was presented. Consequently,
this study classifies the story of the play into six categories to
discuss the “emotions”
and “meanings” in Hakkanese Revised Tea-Leaf Picking Opera .
Chapter One,
Introduction, explains the purpose of the study, related literature,
scope of the study, methodology, and key words.
Chapter Two
compares the transformation from Hakkanese Three RolesTea-Leaf Picking
Mine Opera to Renised Tea-Leaf Picking Grand Opera with an explanation
of the performance types and background music of back stage. The ways
of performance of Revised Tea-Leaf Picking Grand Opera are discussed
according to actors’ acting, modeling, stage properties, and plays in
different periods. The affections behind Hakkanese Revised Tea-Leaf
Picking Opera are explained based on actors’ singing, chanting,
acting, fighting with affectionate performance.
Chapter Three
analyzs “emotions” and “meanings” of Hakkanese
Revised Tea-Leaf Picking Opera along with experts’ opinions based on
the story and the meaning of the play. Feelings of delight, anger,
sorrow, happiness as constructed in a Hakkanese Revised Tea-Leaf
Picking Opera are interpreted. Other Taiwanese plays in the same
periods are also analyzed to examine the similarities of local Chinese
traditional Operas, and to illustrate the interactions of Hakkanese
Revised Tea-Leaf Picking Opera and other types of plays.
Based on subject
matters, Chapter Four to Chapter Nine categorizes Grand Opera into
history, legends, love story, bravery, public affairs ethies, and
family feeling. Two examples are given in each categories with
detailed story, origins of the story, analysis of the story, and the
construction of characters. The subjects of each of the plays and the
codes and other slang are organized and recorded to examine the
“emotions” and “meanings” of the play.
Chapter Ten
provided comments to the values and the future of Hakkanese Revised
Tea-Leaf Picking Opera . The values were presented in music, content,
performance, and story of the plays. The recommendations includes the
need to learn from the successful experiences from Peking Opera and
Foochow Drama, the changes in Hakkanese Opera without disobeying its
characteristics, and the expectations to plant the seeds in Art and
Human Culture part of the 1st-9th Grade Curriculum Alignment.
Chapter Eleven includes conclusions from the analyses of the previous
chapters, suggestions, and recommendations. |
