庶民美學的傳遞、轉化與創造：新加坡職業歌仔戲講戲人陳美英的「臺數」編劇

The Transmission, Transformation and Innovation of Commoners' Aesthetics: On the Scripts of a Professional Play Narrator in Singapore, Chen Meiying

林鶴宜(Lin Ho-yi)

陳美英 ； 新加坡歌仔戲 ； 講戲 ； 做活戲 ； 幕表戲 ； Chen Meiying ； gezixi in Singapore ； play narration ； extemporaneous performance ； scenario outline

民俗曲藝

202期（2018 / 12 / 01）

59 - 131

繁體中文

臺灣民間職業歌仔戲無論在「內臺」的商業劇場或「外臺」的廟會劇場，主要都採用「做活戲」的方式運作它的表演。新、馬地區的職業歌仔戲傳承自臺灣，自然也不例外。「講戲」是歌仔戲「做活戲」運作的開始，大部分的講戲人在傳遞劇目的同時，都或多或少帶有編劇和導戲的實質，但只有極少數的講戲人能夠以「臺數」編創新劇目。陳美英是新加坡在地歌仔戲班「新鳳珠」和「四季春」的苦旦演員兼講戲人，她出身新加坡名班「新賽鳳」，又曾擔任馬來西亞名班「麒麟」的當家苦旦，演出經歷跨越新、馬兩地。她常應班主要求編創新劇目，編劇甚多，目前保留有情節概要的「臺數」（幕表）劇本有19齣之多。本文從陳美英女士幕表編劇的養成過程、題材關注與動機、手法與技巧、編劇風格等入手，探析陳美英如何結合自身生命經驗和在地文化滋養，像許多民間編劇一樣，一步一腳印的充實歌仔戲的內涵，並檢視其做為新加坡女性編劇和演員，有別於臺灣歌仔戲幕表編劇的特色。

The professional gezixi troupes in Taiwan, regardless of indoor theatre or outdoor temple fair performances, employ the uàh-hi extemporaneous performance as the primary mode of acting. The troupes in Singapore and Malaysia, having their roots in Taiwan, are no exceptions. ＂Play narration＂ is the preliminary stage of the uàh-hi mechanism. Most Play narrators, when orally delivering the content of the play, tend to more or less assume the function of a playwright and/or director. However, only very few are capable of writing up new plays using the scenario outline called tâi-sòo. Chen Meiying is a female lead specializing in tragic roles, who also doubles as a play narrator of gezixi troupes, Xinfengzhu and Sijichun in Singapore. Originally from the famous troupe Xinsaifeng in Singapore, she once served as the leading female role of the famous Malaysian troupe Qilin. Her performance credentials stride over both Singapore and Malaysia. Often, at the request of the troupe owners, she would compose new plays. Currently, the existing number of scenario outlines attributed to her amount to 19 plays. In this study, I start with the development of Ms. Chen Meiying's expertise in composing scenario outlines, her motivation, preference of subjects, and her approaches and techniques. I analyze how, just like many folk playwrights, Chen Meiying integrated her own life experience with the nourishment she assimilated from local culture to enhance the content of gezixi theatre one step at a time. I also examine how, as a female playwright and actress in Singapore, she used scenario outlines which exhibit characteristics that are different from those of the gezixi theatre in Taiwan.

1. 林鶴宜(2016)。從演出劇目看新加坡在地職業劇團對臺灣歌仔戲的接受和創發─以「新賽鳳」為爲例。民俗曲藝，191，5-70。
   連結：
2. 林鶴宜(2017)。混雜與交融的「傳統」想像：馬來西亞在地職業戲班「麒麟」閩劇團歌仔戲劇目及演出觀察。民俗曲藝，198，75-84。
   連結：
3. Brockett, Oscar G.,Hildy, Franklin J.(2003).History of the Theatre.Boston:Allyn and Bacon.
4. Lee, Guan Kin(2003).Singapore Chinese Society in Transition: Reflections on the Cultural Implications of Modern Education.Chinese Migrants Abroad: Cultural, Educational, and Social Dimensions of the Chinese Diaspora,Singapore:
5. 本雅明, Walter,張旭東（譯）,王斑（譯）(2012).啟迪：本雅明文選.Hong Kong:Oxford University Press.
6. 克蘭, Mike,王志弘（譯）(2008).文化地理學.臺北:巨流.
7. 吳孟芳(2000)。國立臺灣大學戲劇研究所。
8. 李光耀(1994).李光耀四十年政論選.北京:現代.
9. 林淳鈞（編）,陳歷明（編）(1999).潮劇劇目匯考.廣州:廣東人民.
10. 林鶴宜(2016).東方即興劇場歌仔戲「做活戲」.臺北:臺大出版中心.
11. 林鶴宜(2003)。論明清傳奇敘事的程式性。規律與變異：明清戲曲學辨疑，臺北:
12. 邱坤良(2008).飄浪舞臺：臺灣大眾劇場年代.臺北:遠流.
13. 張學權(1998)。新加坡的街戲─從歌仔戲談起。秋月對歌：臺灣新加坡歌仔戲的發展與交流研討會論文集，臺北:
14. 許永順(2007).新加坡福建戲 1963-2005.新加坡:韭菜芭城隍廟聯誼會.
15. 郭英德(1992).明清文人傳奇研究.北京:北京師大.
16. 劉南芳(2016).臺灣歌仔戲中的活戲套路及程式語言.臺北:文津.
17. 謝筱玫(2000)。國立臺灣大學戲劇研究所。
18. 蘇怡安(2009)。國立臺北藝術大學傳統藝術研究所。
19. 韮菜芭城隍廟聯誼會(2016).看戲：新加坡韮菜芭城隍廟慶祝清溪顯佑伯主聖誕戲曲經典演出 1989–2015 紀念特刊.新加坡:韮菜芭城隍廟聯誼會.