臺灣布袋戲中的拉丁節奏

Abstract

1950年代以降，臺灣布袋戲的音樂取材趨於多元，不僅在劇中所播放的民謠與流行樂曲可以聽到各種拉丁節奏，就連傳統北管曲牌【風入松】也跟恰恰舞曲產生融合。本研究藉由社會脈絡、戲劇運用、音樂文本的分析，探討布袋戲中的拉丁節奏，初步發現：一、流行樂曲結合拉丁節奏，主要作為布袋戲中的音樂符號，襯托特定情節與角色；二、鬥牛舞曲的格鬥感與三段曲式，被布袋戲用來襯托鬥法；三、北管曲牌【風入松】與恰恰的結合僅發生於掛弄，遂能與曲牌本體的傳統旋律形成對比。由於拉丁節奏的滲入，臺灣的布袋戲體現了有別於其他傳統戲曲的西方身體律動感，其創意十足的戲劇運用則反映了臺灣社會的文化混雜性。

The musical source of Taiwanese puppet theatre became significantly diverse after 1950s. The audience could hear Latin rhythms in folk songs and popular music presented in Taiwanese puppet theatre, as well as the fusion of a traditional Beiguan tune and Cha Cha Cha. The present study explored the Latin rhythms in Taiwanese puppet theatre in terms of the analyses of social context, theatrical uses, and music. There are three major findings: (1) the combinations of popular music and Latin rhythms facilitate their symbolization of theatrical events and role types; (2) the fight atmosphere and triple form of Paso Doble allow this music to accompany magic combat scenes; (3) the Beiguan tune “Wind in the Pine” blends with cha-cha-cha only in its ostinato sections, thereby establishing contrasts between the ostinato sections and the traditional sections. Due to the invasion of Latin rhythms, Taiwanese puppet theatre shows the moving styles of “Western body”, which are absent in the majority of Xiqu. On the other hand, the innovative theatrical uses of Latin rhythms reflect our society’s cultural hybridity.