以亦宛然掌中劇團《華容道》 ─論布袋戲音樂的「外江」脈絡與探源

Abstract

布袋戲約於嘉慶年間流行於閩南一帶，也約莫於清中葉隨著移民傳入台灣，並落地生根發展，成為台灣地區最活躍的傳統戲劇劇種之一。就台灣傳統古典布袋戲戲曲音樂類型態而言，有南管、北管、潮調與外江布袋戲等。其中，外江布袋戲能被歸類為演出經典之一，當中展現了藝師與戲劇和曲種的表演風華，亦反應了當代觀眾的好惡，然而至今卻乏人研究。因此，本文探考台灣布袋戲之「外江」戲曲內涵與風格，並以北部李天祿及其亦宛然掌中劇團之作品《華容道》做為一主要實際演出的觀察例證，追索台灣布袋戲與中國京劇之戲曲材料使用或變革軌跡。目的在了解台灣的外江布袋戲戲曲音樂脈絡，管窺台灣布袋戲外江風格之究竟。

Popular in the southern part of Fu-Ckien province during the reign of Emperor Gia-Chin, puppet shows came with the immigrants to Taiwan around the mid-Ching Dynasty and then took root to become one of the most prominent Taiwanese traditional drama. The Xiqu music of Taiwanese traditional puppet shows has been generally categorized into Nanguan, Bei Guan, and Gua-Kang puppet show and so on. As one type of the traditional classic puppet shows’ music, Gua-Kang displaying the performing skills of the artists and the characteristics of the genre reflects the response of the audience at that time. However, related studies have been seldom done up to now. This thesis tries to explore the content and the style of Gua-Kang by the case of Hwa-Ron-Daw, a piece of work in northern Taiwan by I Wan Jan, Lee’s puppet show theatre. Aiming to trace the puppet shows’ using of Chinese opera and their development, it hopes to reveal the details of Gua-Kang and examine Taiwanese traditional puppet shows’ music of Gua-Kang.