試論豫劇在臺灣的發展與轉化

A Discussion on the Development and Transformation of Henan Opera in Taiwan

10.30157/JCRTF.200703.0003

張啓豐(Chi-Feng Chang)

戲曲 ； 豫劇 ； 發展 ； 轉化 ； traditional opera ； Henan opera ； development ； transformation

民俗曲藝

155期（2007 / 03 / 01）

53 - 77

繁體中文

戲曲劇種的流播是聲腔劇種得以繁衍壯大、枝繁葉茂的重要因素。每一類聲腔劇種各具特質，有的很容易可以與傳入地的民歌音樂、當地劇種等結合，從母體聲腔衍化出新的劇種，如弋陽腔系統；有的則是內在結構嚴謹，極難與傳入地之曲種、劇種融合，如崑曲。外來劇種傳入一地，則會經過長久之時間而在地化，如乾嘉年間傳入臺灣的北管戲曲；甚至會對當地本土劇種產生影響，此即如京劇之於歌仔戲。戲曲劇種傳入臺灣之後，一則在整體環境中有所發展，二則劇種本身或多或少有所轉化，時至今日，臺灣的崑、京、豫等劇種與大陸相同劇種比較，已然可見地域風格所產生的差異。其中豫劇自1949年之後傳入臺灣，由於國家政策之故，得以在特殊的生態中承續流脈、薪火相傳；「海軍陸戰隊飛馬豫劇隊」自1996年改隸教育部，成為「國光劇團豫劇隊」，十年來多方拓展劇目、培植新秀，並嘗試與小劇場結合創作；近年來到中國大陸河南鄭州市等地巡迴演出，即表現出不同的表演及劇場風格。以下本文嘗試從唱念、編腔、劇目等方面，探討豫劇在臺灣的發展與轉化。

Transformation of opera genre is fundamental for the growth and development of regional theater. Each singing style possesses unique characteristics. Some blend in with local folk tunes or local operas easily and evolve into new genres, such as the Yiyang singing style. Others feature distinct internal structure that barely allows any integration, such as Kun-qu. Once an alien genre gets imported, over an extensive period of time it would either undergo localization, for instance, the beiguan that came to Taiwan during the Qianlong-jiaqing era: or it would affect the local opera genre, such as Peking opera's influence on koa-a opera. Once an opera genre was imported into Taiwan, it on the one hand developed within the over all environment, on the other hand went through some transformations. As of today, the Kun opt, Peking opera and Henan opera in Taiwan have shown noticeable stylistic differences in comparison with their counter parts in Mainland China. Since the Henan opera's introduction into Taiwan in 1949, it has carried on its tradition within the special nurturing environment of national policy's sponsorship. In 1996, the Flying Horses Henan Opera Troupe was put under the supervision of the Ministry of Education and renamed ”Henan Opera Troupe of the Guoguang Theatrical Company.” Since then, it has expanded its repertoire, trained new performing artists, and attempted to undertake joint performance projects with mini theaters. In recent years, its performing show on tour to Zhenzhou, Henan, as well as other cities, has presented different performing and staging styles. In this article, I shall investigate the development and evolvement of articulation, musical style, and repertoire of Henan opera in Taiwan.

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