解析紅色神話─樣板戲中的音樂基模轉換研究

Abstract

文革時期的樣板戲，可以視為以表演藝術進行造神運動的縝密計畫，劇中的一號人物不但是政治理念的傳聲筒，更透過類似「巫」的功能，彰顯黨與毛主席的光輝。本文透過相關理論及影音資料的分析，對樣板戲音樂的政治運用試做探討。本文由神話理論出發，先從文本中確立一號人物「巫」的位置，以「基模轉換」的角度分析一號人物的抒情專場唱段，證實音樂能強化其「巫」的本質，再以實驗法驗證「神祕經驗」的存在。此外，本研究以基模轉換的觀點探討七齣樣板戲的演進及變化，並分析「京劇流派」如何成為突破樣板戲僵化模式的源頭活水。

The model Beijing opera during the Cultural Revuotioin can be regarded as an elaborate means of establishing a personality cult through artistic performances. The lead character in such operas serves not only as a mouthpiece for political ideals, but also glorifies the communist party and Chairman Mao through a quasi-“shamanism” process. Based on relevant theories and analyses of audio-visual material, this thesis explores the political use of music in model Beijing operas. In light of myth theories, it is found that the shamanism position of the lead character can be established in a given text. Music analysis of several lead’s lyrical arias suggests that musical schema shifts can reinforce its shamanism element, and the hypothesis of the existence of a “mystical experience” in these arias is further examined through experiments. In light of schema shift, this study also investigates the evolution and changes in seven model Beijing operas, arguing that a “singing school” of Beijing opera served to break through inflexible modes.