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標題: | 邁向「正典化」之路:一九九〇年代以來現代劇場歌仔戲的美學政治 Toward The “Canonization” of Gezaixi : The Aesthetic Politics of Gezaixi in Modern Taiwanese Theater since the 1990s |
作者: | 傅裕惠 YUHUI FU |
指導教授: | 林鶴宜 Hoyi Lin |
關鍵字: | 現代劇場歌仔戲,明華園,正典化,國族意識,廖瓊枝,美學政治, Traditional Taiwanese Opera in modern theater,Ming Hwa Yuan arts and cultural group,Canonization,Consciousness of nationalism,Liao Qiongzhi,Aesthetic Politics, |
出版年 : | 2023 |
學位: | 博士 |
摘要: | 在我投入歌仔戲導演工作(包括在廟口外臺與現代室內劇場)近廿年來,期間經歷的反省與刺激,讓我開始好奇不同歷史脈絡發展下的臺灣歌仔戲,面對至今持續不斷的「現代化」創新,究竟反映了她什麼樣的社會面貌。自九〇年代以來,臺灣歌仔戲因應國族意識高漲、文化政策與資源改變,和七〇年代以來的新興藝文階級興起,逐漸步入我觀察到的「正典化」(canonization)歷程;亦即被「封聖」 成為台灣國族象徵與傳統。我研究關照新編現代劇場歌仔戲作品的時間範圍,原則上以河洛歌子戲劇團的《曲判記》於一九九一年首度參與國家戲劇院公開徵選作為起始點。近卅年來,隨著中央與地方補助政策的執行、劇場空間的興建與機構化,文化政策需求下的評鑑補助制度,逐漸主導著現代劇場生產製作,並且結構了一批文化生產場域裡,參與補助評審評鑑制度的「專家學者」。該制度目的在於以公平分配的資源,提升戲曲藝術性,彌補傳統戲曲生態的萎靡。然而這些所謂專家學者的知識權力階級,也參與了歌仔戲的「正典化」,並且也與臺灣歌仔戲「現代劇場化」的效應與變因交互作用,主導地位更趨明顯。
本論文試圖從臺灣歌仔戲的政治文化情境、「傳統」的論爭與實踐與文化政策的嬗變與現代劇場的生產製作來論述歌仔戲被正典化的歷程。另外,我也嘗試反映民間職業戲班如何適應現代劇場生產規制與文化場域,分析他們如何針對政府補助資源形成的文化場戲路,對應出折衷的生產製作模式。本階段的博士論文研究預計就臺灣歌仔戲進入現代劇場發展,觀察民間業界和參與創作的知識菁英為歌仔戲劇場化,磨合創新與傳統,並且與台灣當代社會國族意識和新興藝文階級興起的現象,做一對比整理。被稱為臺灣歌仔戲人間國寶的廖瓊枝,從外台職業戲班的經濟場域,跨足文化場域的種種努力與現象,正足以佐證歌仔戲被正典化的歷程。她雖然被視為「傳統象徵」,其實她的作為堪稱是她的當代表演的激進創新。 本論文的目標在於觀察和批判九〇年代以來,歌仔戲邁入被正典化的歷程。尤其現代劇場歌仔戲的美學自主性和場館資源分配之間,有著相當微妙的關聯;新興藝文菁英中參與官方補助計畫和評審評鑑制度的「專家學者」,更是居間影響深遠的關係人。歌仔戲的「正典化」,固然展現原創新編的創作,有著改寫或重構國族歷史與文化傳統的想像與企圖;然而文化資本化的趨勢與政治展演,可能掩飾了民間戲曲生態的問題。專家學者見證評審評鑑制度下表現優異的歌仔戲團隊和藝人,更是在政府部門出資的大規模展演中為代表的象徵權力所用。這些被動員的劇團與藝人們,其藝術表現勢必也等同獲得了象徵資本的保證與背書。這迫使我身在此一場域族群中,必須從政策資源、傳統建構、場域習慣和象徵權力等角度,來檢視現代劇場歌仔戲的美學政治。 I started working as a director some twenty years ago for Gezaixi, the traditional Taiwanese Opera , both in the outdoor space opposite the temples and in the venues of modern theaters. Throughout these years I have been puzzled by one particular question—why gezaixi shall constantly be “modernized”? I set out to examine Gezaixi in different historical contexts, such as when it echoed with the rising consciousness of nationalism, when it responded to the emerging artistic and literary classes, and how it interacted with government subsidy and resources distribution. Gezaixi has progressed to “canonization,” represented as a national symbol and cultural icon. I denote 1991 as the starting point of my study, because it was the year when the well-known Holo Taiwanese Opera Troupe won the first time ever open call by National Theater with A Case of a Court Judge. In the past 30 years, with the implementation of central and local subsidy policies, both institutionalized theater venues and the evaluation system of the subsidy policies have directed the orientation of those productions in the field, it has structured a group of “experts and scholars” anonymous to the public in the field of cultural productions. The purpose of subsidy policies is to justify the resources distribution, improve the artistry of the opera and boost up the surviving business effectively. However, the same experts and scholars are also engaging with the “canonization” of the opera and their position as artistic mediators rises up to dominance during the process of transformation. This dissertation attempts to study the process from the political and cultural setting of the “Canonization” of Traditional Taiwanese Opera, the disagreements and practice about the “tradition” of the opera and the progression of cultural policy and the making of modern theater to defend my arguments. In addition, I also intend to demonstrate how the private business of local professional opera troupes adapt themselves to the regulations and makings of modern theater production in the cultural field, how they identify and compromise with the Habitus in the field corresponding to government funding. My research thus aims firstly to delineate how the Traditional Taiwanese Opera transform to modern theaters, and secondly to look at the friction and evolvement in the creation of original and traditional works, and thirdly, to recognize the occurrences of nationalism in the rise of emerging artistic and literary classes. At the same time, I will discuss in detail how Liao Qiongzhi, the living icon of Gezaixi, struggles with her uttermost endeavor to achieve prominence in the field all along. However, judging by her works rooted tradition, her efforts should be recognized as a radical innovation of Gezaixi, shaping and defending its tradition. The purpose of this study, finally, is to critically analyze the subtle relationship between its its artistic aesthetic autonomy and the allocation of venue resources in Traditional Taiwanese Opera in modern theatre since it became canonized in 1990s. The “experts and scholars” among the emerging art and literary elites are influential, though sometimes invisible, mediators. Those who attempt to re-write, create and reconstruct the history and cultural traditons have contributed significantly to the canonization of the opera. Nonetheless, the government and the audience are almost unaware of the inclination of cultural capitalization and political performance working in good harmony. That serves well to completely conceal the setbacks and problems in the private business of folk operas. Experts and scholars, or artistic mediators, positioned in the system as witnesses endorsing those commissioned by the government departments to become parts of the political spectacles during the national celebrational productions such as Maritime Glow: The Main Lantern Is A Play, A Taiwanese Opera(2022) or Witness The Fortress (2016,2018), as they earn the symbolic power. The artistic involvement of these troupes and artists is bound to be equivalent to the guarantee and endorsement of symbolic capital. This compels me to examine the politics in the aesthetic of Gezaixi in modern theaters from the perspectives of the resources of cultural policy, the construction of the traditions, and the Habitus and the symbolic power in the Field. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/90671 |
DOI: | 10.6342/NTU202302574 |
全文授權: | 同意授權(全球公開) |
顯示於系所單位: | 戲劇學系 |
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