內台歌仔戲的表演型態及其特色

Forms and Features of Taiwanese Opera Performance

10.7021/PAJ.200507.0463

林茂賢(Mao-Xian Lin)

內台歌仔戲 ； 台灣歌仔戲史 ； 商業劇團營運 ； Taiwanese Opera ； History of Taiwanese Opera ； Operation of Professional Troupes

臺灣戲專學刊

11期（2005 / 07 / 01）

463 - 485

繁體中文

歌仔戲在1900年前後吸收各劇種精華，發展為大戲形式，是台灣唯一土生土長的傳統劇種，其音樂曲調來自於民間歌謠或是傳統戲曲，且劇情耳熟能詳，因此能迅速風行。1920年歌仔戲開始進入內台商業劇場時代，內台劇場指就是不對外開放、售票營利的表演，此時期加入劇場的燈光、音響、佈景、特效等元素，使歌仔戲完備大戲的架勢。本文以一九二零至一九七零年代臺灣內台歌仔戲為對象，經由歷史文獻、研究、廣告等，解析當時代的歌仔戲特色、戲班營運和表演型態。歌仔戲由於戲劇環境成熟、融合其他劇種廣受基層民眾喜愛的因素，從廟埕進入內台，內台歌仔戲班地劇團擴充人員編制、加入製作、舞台技術人才，並以「連續劇」的表演安排，但在日治末期短暫禁止演出。二次世界大戰結束後，民國38年到44年，歌仔戲主打空中變景、美女跳舞等噱頭；民國45年後轉以名角號召，民國46年後由於台語片蓬勃發展，再加上民國51年後電視的普及，使內台歌仔戲逐漸沒落，轉往外台廟口為主要市場。內台歌仔戲時期，除了融合各種藝術精華，商業性質也將歌仔戲提升為專業表演，加入不少女性演員，並且大量創編新戲碼，使歌仔戲能成為結構完整的劇種。

Around the late 19(superscript th) and early 20(superscript th) century, Taiwanese Opera incorporated different elements from other opera forms and developed into a major opera form itself. Taiwanese opera is the only traditional opera form developed in Taiwan and it incorporated musical elements from traditional folk songs and opera songs. Because of its root in the peasantry and the common people it was able to develop quickly and attract a huge number of followings. In the 1920s, Taiwanese opera began its commercial era where performances were no longer performed in the outdoors for free and it is instead performed indoors in theaters where ticket purchases were required. It is during this era, where stage lighting, sound, stage sets and special effects were incorporated into Taiwanese Opera, developing it into an opera form in its own right. This essay aims to discuss the development of Taiwanese Opera from the 1920s to the 1970s with references to historical documents, researches, commercials and other materials to analyze the operation and performance of the theater troupes during that time. Taiwanese Opera was able to commercialize itself because it incorporated elements from other opera forms that were popular with the audiences and because audiences were ready for a commercialized performance. After commercialization, Taiwanese Opera expanded the troupe staff to incorporate production and technical professionals and to start performing in episodes. Taiwanese Opera was briefly banned from performance near the end of the Japanese colonial period, however it quickly regained its popularity after the end of the Second World War. From 1949 till 1955, Taiwanese Opera incorporated hokum and claptraps such as live stage set changes and dancing girls. In 1945, Taiwanese Opera began to use star performers to attract audiences to the theater. However, the rapid development of Taiwanese movies in 1957 coupled with the rise of the television in 1962 prompted the downfall of commercialized Taiwanese Opera and it once again turned to outdoor performances for audiences. The commercial era of Taiwanese Opera not only incorporated elements from other art forms, it also raised the performance to a new professional level. It is also during this era when female actress began to join the performance and new plays were written, making Taiwanese Opera a complete and comprehensive art form on its own.

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