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    题名: 催化與自發——新世紀臺灣歌仔戲的新戲路
    Catalysis and Spontaneity: New Tracks of the Taiwanese Koa-a Opera
    作者: 蔡欣欣
    Tsai, Hsin-Hsin
    关键词: 歌仔戲 ； 戲路 ； 公演場／文化場外臺歌仔戲 ； 小劇場歌仔戲 ； 場域
    koa-a opera ； new tracks ； public performance ； open stage koa-a opera ； mini-theater koa-a opera ； field
    日期: 2007-03
    上传时间: 2010-09-03 21:57:01 (UTC+8)
    摘要: 基於上世紀國族意識的高漲、鄉土文化的抬頭與知識菁英的看重，歌仔戲儼然躍升為臺灣本土戲曲劇種的表徵。邁入新世紀的臺灣歌仔戲，除了繼承民間的傳統戲路外，出自官方藝文政策的主導，或源於新興演出場域的開闢，或基於商業市場意識的考量，或肇因於對劇種藝術思維的實驗等衍生的新戲路，既拓展了歌仔戲「請戲演出」的營運機制，也催化了歌仔戲「劇藝型態」的多元發展。綜觀這些因「外在催化／內在自發」的雙重使力下，所開闢的「推廣傳統藝術」與「重建廟會戲路」為宗旨的外臺歌仔戲匯演與廟口專案活動；以及「因應市場經濟」與「探索劇藝思維」為目標的「戲園茶館／小劇場」歌仔戲演出型態，在由劇團演員、製作團隊、政府公部門、民間文教機構、評審委員與觀眾所組成的多元社會文化網絡「場域」中，相輔相成卻又彼此抗衡牽制，因而形成了行政企畫的專業書寫、文宣包裝的行銷手法、評選機制的主導操縱、品牌文化的形象包裝、製作團隊的反覆洗牌、明星效應的輻射應用、劇場外臺的交互挪移、觀演交流的經營建構等，類同或歧異於以往值得審視與關注的劇壇現象。
    As a result of a heightened sense of national identity and indigenous culture, as well as attention from the elites, the koa-a opera has been hailed as a symbol of Taiwan`s indigenous theater.
    Taiwanese koa-a opera in the new millennium, on the one hand main tains the tradition repertoire, on the other hand opens up a new arena of multi dimensional development with the encouragement of official cultural policy, establishment of new performance spaces, market oriented considerations, and new attempts originating from theatrical art experiments. These not only expand the operation pattern of occasion incurred contracts, but also bring about diverse theatrical artistic improvement of koa-a opera. As a result of the twofold effect of inner spontaneity outer catalysis, the open- stage joint performances, special performance events opened up by the ”traditional art promotion” and ”temple fair opera repertoire reorganization” compete with the koa-a opera performances in mini theaters or tea houses under the guideline of market orientation and theatrical art exploration. They also complement each other within the multi dimensional socio cultural net work consisting of the performers, production teams, governmental organizations, civil literary institutions, reviewers and the audience. Thus we see remarkable theatrical phenomena that are either similar to or different from the past, such as, professional writing of the administration project, advertisement marketing, dominance of the evaluation mechanism, brand name images, shuffling and re shuffling of the production teams, manipulation of the diffusion of the star effect, interchange between theater and open air stage, opera viewing experience communication, etc.
    關聯: 民俗曲藝, 155, 111-150
    数据类型: article
    显示于类别:[中國文學系] 期刊論文

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