台湾当代庙宇剧场戏台体制与管理研究

【作者】 纪家琳；

【导师】 刘元声；

【作者基本信息】 上海戏剧学院 ， 戏剧戏曲学， 2011， 博士

【摘要】 本论文针对表演文化中,早期与台湾庶民娱乐关系最密切的庙宇戏台为主要研究范围,文中对中国传统戏台与剧场的起源认定,透过剧场艺术学的论述与笔者研究分析,进行新的解释与界定。以开拓两岸剧场研究的范畴,厚植庙宇戏台文化的文献资料,增进彼此生活态度上的了解为目的。本论文共分为五章,第一章序论,主要叙述本研究背景、方法、目的、意义、架构以及文献探讨与名词界定。在文献探讨部分,由于两岸本有共同的宗教与文化渊源,在历史推演、政治切割后,产生不同的研究方向,呈现出各异的文献数据,却有互补功能。大陆部分注重在宗教与庙宇建筑史及戏曲的共生关系,于传统固定式戏台已有大规模的纪录与研究,对台湾相关的社会历史与现况文献却相当不足,特别是近40年来台湾的庙宇建筑、戏台形制与表演内容。台湾部分则由于社会形态变迁快速,积极接受世界各国学术理论,且关注台湾本岛民间宗教与表演文化现象,在戏台各种形制论述上则资料极少。故本论文正好能补足大陆对台湾庙宇戏台的资料,也重新连接了台湾与大陆彼此的脐带关系。第二章台湾庙宇剧场的历史源流,以中国与台湾在历史上的关系为起始,下分三节,第一节旨在从中国庙宇与剧场的定义,重新审视各朝代庙宇剧场的状况,以及社会对庙宇演出的观感与影响为何。其次由传统的建筑观点与扮演观点二方面,叙述不同视角所形成戏台源起的异同,而在中国戏曲大戏表演成形时获得形式上的统一。最后提出台湾庙宇神明与中国一脉同源的历史,造成建筑戏台在形式上相同的论证。第三章台湾当代庙宇戏台分析为本论文之核心研究部分,以台湾庙宇戏台的起源为始点,提出原住民在庙宇戏台历史上的地位,并延伸至下一节台湾原生剧种歌仔戏与外来本土化的布袋戏,在民间对庙宇戏台的关系及地位。第三节以笔者归纳后划分出的固定式、临时式与流动式三种庙宇戏台样式为结论,定义这三种戏台目的与形式,同时将传统上对戏台与庙宇的各种形制,透过田野调查后比较分析,重新建立对台湾当代庙宇戏台的认知。第四章台湾庙宇剧场的戏台功能与管理,以上述三种类型戏台为基础,结合舞台与观众席成为剧场的界定,认为剧场会藉由种种外部手段,亦即所谓的舞台技术,进行或帮助演员与观众之间的信息交流、参与方式及人际知觉的沟通,展现三种戏台外部与意义上的功能解释。第二节戏台管理研究,则分别从台湾的专业剧场至民间庙宇戏台管理的现况,进行分类说明与田野调查后的分析,获得庙宇演剧形式,在演出管理方面有着认知与方式上的差异。第五章结论与建议,为对本论文是否达到目的之结语,并针对庙宇戏台、表演与演出与台湾剧场提出建议,期望能对台湾与大陆日后在研究戏台表演文化或是在制订政策时能有所帮助。更多还原

【Abstract】 In light of the performance culture, the chief range of this research involves the temple opera stages which have the closest relationship with Taiwan plebeian entertainment in early years. The article recognizes the origin of the Chinese traditional opera stages and theaters, and presents new explanations and definitions through artistic theories and the writer’s study and analysis. Its goals are to expand the theater research dimension Cross-Straits, nurture the literature materials of the temple opera stage culture, and improve the mutual understanding of each side’s living attitudes.The thesis is divided into five chapters. The first one is Introduction, mainly recounting the background, approaches, goals, meanings, structures, literature discussion, and noun definitions. In the literature Discussion section, though history evolving and political cutting has resulted different research directions, owing to the same religious and cultural origin, the literature materials still complement one another anyway. The Mainland emphasizes on the coexistent relationship among religion, architectural history and already has a large scale of records and researches about the regular opera stage forms, yet lacks of the relative Taiwan social, historical and current condition literature, especially that of Taiwan temple building, the opera stage styles, and the performance content in recent 40 more years. On the other hand, Taiwan owns extremely deficient information on a variety of opera stage styles because of rapid social formation changes, enthusiastic pursuit of the international scholastic theories, and a focus on the symptoms of the folk religions and performance culture on the Island. Therefore, this thesis can just timely make up the Mainland’s deficiency of Taiwan temple data and reconnect funiculus relationship each other.Chapter 2 states the historical origin of Taiwan temple theaters, dividing into three sections by the historical relationship between China and Taiwan. Section 1 purports to re-examine the state of the temples and operas in every dynasty, and re-inspect the society’s reactions to and influence on a temple drama performance via the definition of the Chinese temples and operas. From the traditional architecture and role-playing angles, it then describes the similarities and differences among the opera stage origins from various viewpoints, and also reports the styles of Chinese operas unified at formation. What brings up finally is that the gods in Taiwan temples and the history of the same origin with China together create identical demonstrations of the architectural opera stages in style.Chapter 3, the analysis of Taiwan’s Contemporary Temple Opera Stages, is the core part of this research. Beginning at the origin of Taiwan temple opera stages, it tells the aborigines’ status in the temple opera stage history, which is extended into the next section, the status and relationship with the folk temple opera stages of the original opera, Taiwanese opera and localized foreign opera, puppet show. In Section 3, the writer inducts three temple opera stage forms-- the regular form, the temporary form, and the mobile form-- as the conclusion, defining the three forms’ goals and styles while reconstructing the cognition of the temple opera stages after comparing and analyzing the field research.Chapter 4 is on the Functions and Management of the Taiwan Temple Opera Stages. Based on the three opera stage forms mentioned above and the definition of a theater as a combination of a stage and the audience seats, the author thinks that many external measures, so-called stage techniques, will undergo or assist the information exchange, participation methods, and interpersonal perception communication between the actors and the audience, showing the functions of the three stage forms externally and in meaning. Section 2 is the Management and Research of an Opera Stage, from Taiwan’s professional theaters and folk temple opera stage management respectively; it presents the analysis of the field research, the forms of the temple operas, and the diversities of cognition and methods of performance management.Chapter 5 comes to Conclusions and Suggestions. It sums up whether this essay has achieved the goals and suggests some ideas on temple opera stages, performances and Taiwan theaters, expecting being helpful for Taiwan and the Mainland when they do researches on the theater performance culture or make policies.更多还原