歌仔戲現代劇場化的全面演練：試探幾種藝術節機制與場域對新編歌仔戲的影響

A Comprehensive Drill of Traditional Taiwanese Opera in Modern Theatre: Probing into the Effects on Its Original Creations from the Field and Mechanism of Several Theatre Festivals

傅裕惠(Fu Yu-hui)

場域 ； 慣習 ； 藝術節 ； 藝術自主性 ； 現代劇場歌仔戲 ； field ； habitus ； festival ； artistic autonomy ； Traditional Taiwanese Opera in modern theatre

民俗曲藝

218期（2022 / 12 / 01）

113 - 159

英文

九○年代起，國家戲劇院（現隸屬2014年成立的國家表演藝術中心）以及延續至今的企劃邀演，與2000年之後財團法人國家文化藝術基金會主辦的「歌仔戲製作及發表專案」（2003－2012）、高雄市政府文化局的春天藝術節歌仔戲系列（2010－）與國立傳統藝術中心的臺灣戲曲藝術節和「戲曲夢工廠」（2018－）等節目，隨着現代劇場表演「機構化」，及現代劇場生產制度與專業分工的成熟，逐漸形成特定的「文化生產場域」。其中關係着作品生成的策劃（策展）、評審與評鑑機制，不僅直接影響臺灣歌仔戲的「正典化」，也因為臺灣文化官僚對所謂專家學者的倚賴與信任，形成了一批特定階層的觀眾。現代劇場歌仔戲製作（文化場）的場域中，因為場域慣習的特殊地位與訴求別於常民口味的市場，形成對外的封閉性。這樣的文化生產編制可能會因為資本權力的影響，將損及藝術自主性的問題或現象，視為理所當然；甚者，形成至高的藝術品味，以致於模糊了民間職業戲班與文化場域不同的階級問題。本文試圖探討前述幾個重要的戲曲藝術節，就其評審評鑑制度詮釋其中的現代化發展；並從藝術節分派資源的審查機制與參與動員，嘗試論述所謂當代歌仔戲對生態影響的意義與內涵。

Since the 90s, programs such as "Xiqu Dreaming Factory"and Taiwan Traditional Theater Festival (2018-) from National Center for Traditional Arts in Taiwan and the National Theatre (now an affiliate of the National Performing Arts Center established in 2014) and "Production Projects for Outdoor Opera Troupes" (2003-2012) sponsored by the National Culture and Arts Foundation since 2000, and the Spring Arts Festival Opera Series (2010-) organized by the Bureau of Cultural Affairs for Kaohsiung City Government, are all forming of "the fields of cultural production," while the "institutionalization" of modern theatre, including a fully developed industry of its professional divisions of labor, is growing into its maturity. Due to the development of the professional divisions of labor in modern theatre, Traditional Taiwanese Opera is closely related to the "national symbol." The intellectual elite, motivated by the ideology of nationalism, has carefully crafted the original works of the opera, which makes the meaning of canonization evident. It is significantly related to the process of planning (curation), review, and evaluation mechanism of the production of works, which not only directly affects the "canonization" of Traditional Taiwanese Opera but also forms a group of a distinctive class of audience, so-called experts and scholars whom the cultural bureaucrats mostly put their trust in and reliance on. In the field of Traditional Taiwanese Opera in the modern theatre (cultural field), a rather exclusive nature is created due to the specific habitus and different demands from the taste of ordinary people. Such a system of cultural production may dissolve the problems or dissipate the tension that undermines artistic autonomy because of the influence of capital power. Moreover, it has grown into a supreme artistic taste so that it could possibly blur the class differences between the traditional outdoor opera troupes and those related professionals in the cultural field (modern theatre). This article attempts to study the above-mentioned art festivals and analyze the development of their evaluation system for subsidization. Furthermore, based on the review mechanism and mobilization of resources allocated by the art festivals, I will try to demonstrate the significance and substance of the so-called contemporary Traditional Taiwanese Opera and its ecological impact.

1. 傅裕惠(2020)。九○年代以來歌仔戲「正典化」的美學現象。民俗曲藝，209，67-110。
   連結：
2. 謝筱玫(2007)。從精緻到胡撇—國族認同下的臺灣歌仔戲論述。民俗曲藝，155，79-110。
   連結：
3. (1996).八十四年表演藝術年鑑.臺北:國立中正文化中心.
4. Bourdieu, Pierre,Adamson, Matthew(Trans.)(1990).In Other Words: Essays Towards a Reflexive Sociology.Stanford:Stanford University Press.
5. Bourdieu, Pierre,Nice, Richard(Trans.)(1993).The Field of Cultural Production: Essays on Art and Literature.New York:Columbia University Press.
6. Bourdieu, Pierre,Nice, Richard(Trans.)(1987).Distinction: A Social Critique of the Judgement of Taste.Cambridge:Harvard University Press.
7. Burawoy, Michael(2019).Symbolic Violence: Conversations with Bourdieu.Durham:Duke University Press.
8. Habermas, Jürgen,Burger, Thomas(Trans.),Laurence, Fredrick(Trans.)(1989).The Structural Transformation of the Public Sphere.Cambridge:Polity Press.
9. Schirato, Tony,Roberts, Mary(2018).Bourdieu: A Critical Introduction.New York:Routledge.
10. 王友輝(2013)。京劇元素在臺灣現代戲劇中的碰撞與融合。傳藝雙月刊，104，108-111。
11. 吳正婷（編）(2015).歌仔天團•春藝尬戲—2010–2015 高雄春天藝術節歌仔戲紀錄書.高雄:高雄市政府文化局.
12. 周慧玲(2004)。菁英論述與官方政策的共生與悖離：台灣現代劇場論述的跨文化挪用問題初探。正典的生成：台灣文學國際研討會，臺北:
13. 林鶴宜(2018).臺灣戲劇史.臺北:國立臺灣大學出版中心.
14. 邱坤良(1983).現代社會的民俗曲藝.臺北:遠流出版社.
15. 邱婷(1995).明華園：臺灣戲劇世家.臺北:獨家出版社.
16. 施如芳(2003)。劇之本不在，戲根著何土？ 從中國大陸「舞台藝術精品工程」思考本土戲曲創作。PAR 表演藝術，123，27-34。
17. 國立傳統藝術中心(2021)。,臺北:財團法人辜公亮文教基金會。
18. 陶維鈞(2017)。好戲上場：台灣戲曲中心開機暖身。表演藝術，297，48-49。
19. 蔡欣欣(2018).臺灣歌仔戲史論：文本、展演與傳播.臺北:里仁書局.
20. 蔡欣欣(2011).臺灣戲曲景觀.臺北:國家出版社.
21. 鄭宜峰(2001)。十年一覺戲棚夢。PAR 表演藝術，101，80-83。
22. 蘇昭英(2001)。國立藝術學院傳統藝術研究所。