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標題: | 說唱文學與民間戲劇:論時事劇目在歌仔冊與歌仔戲的流傳與衍變 The Circulation and Transformation of Current-event Drama between Taiwanese Ballad Booklets and Taiwanese Opera |
作者: | Yen-Lin Wu 吳彥霖 |
指導教授: | 林鶴宜 |
關鍵字: | 時事劇,歌仔,歌仔冊,說唱,歌仔戲,民間戲劇, current-event dram,Taiwanese Ballad,Taiwanese Ballad Booklets,Taiwanese Drama,folk darma, |
出版年 : | 2014 |
學位: | 碩士 |
摘要: | 歌仔戲是以說唱「歌仔」為基礎發展而成的戲劇,兩者在劇目、敘事內容、套路情節上具有密切的關係,本文從時事劇的角度,研究歌仔與歌仔戲之間的交互影響。
「時事劇」是指劇作家與民間藝人,以當代或近代的重大事件為主題,根據新聞報紙、軼聞傳說及自身經歷改編而成的劇目,其內容包含重大的政治事件與實事案件。本文研究的時事劇均與命案有關,可依地理區域分為二,即「不在台灣發生」與「在台灣發生」的時事劇,前者例如《詹典嫂告御狀》、《通州奇案殺子報》、《青竹絲奇案》;後者例如《周成過台灣》、《林投姐》、《運河奇案》。藉由說唱與戲劇的演出文本,分析二者中情節安排與表現手法的差異,進而論述歌仔、歌仔戲時事劇的表演特色。 隨著時間更迭,過去的時事新聞變成今日的軼聞傳說,時事劇「紀實性」的性質逐漸消逝,今日的時事劇已成為一種劇目類型。 本文結論根據上述劇目,歸納時事劇的程式情節,討論其呈現的主題意義,並於文末說明時事劇的演出現況,以及當今歌仔戲鮮少演出時事劇的原因。 Kua-a-hi(Taiwanese Opera) is a kind ofdrama, based on Kua-a(Taiwanese Ballad) and Kua-a-tsheh(Taiwanese Ballad Boolets). Kua-hi has close relation to Kua-a in narrative way and plots. This dissertation is in terms of current-event drama, focusing on the relatives between Kua-a-tseh and Kua-a-hi. Current-event Drama means that folk performers and actors take current news and incidents as subjects to create plays. These subjects, which are sensational and well-known, include political events, murders, and social cases. The current-event drama can geographically divide into two sorts: “whathappened in Taiwan” and “whathappened not in Taiwan”. The former consists ofZhan-Dian’s Wife Accused of Her Farther, Tong-Zhou Vicious Mother, and Bamboo Viper Murder. The later consists ofZhou-Cheng Immigrates to Taiwan, An Abandoned Widow: Lin-Tou-Jie, and A Suicide for Love in Tainan Canal. This thesis analyzes the plots and narrating difference between Kua-a-tseh and Kua-a-hi. Furthermore, the thesis concludes the features and conventional plots of Current-event Drama between them. As time goes by, past “current-events” transform into legends or stories nowadays. Current-event drama gradually loses its function of recording and reflecting the actual facts and becomes a category of plays. At the end, the thesis accounts for the situation of playing current-event drama and why the playing frequencies decrease. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/58480 |
全文授權: | 有償授權 |
顯示於系所單位: | 戲劇學系 |
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