台灣戰後初期的亂彈班研究

• Main Author: 邱昭文
• Other Authors: 周純一
• Format: Others
• Language: zh-TW
• Published: 2001
• Online Access: http://ndltd.ncl.edu.tw/handle/58939613591371239039

碩士 === 南華大學 === 美學與藝術管理研究所 === 89 === Bei Guan (Chinese Pipe), being the most far-reaching and popular musical instrument and opera genre here in Taiwan, is also the mainstream music that people on Taiwan have inherited from Chinese on the mainland. The primary content of such a musical genre includes the performance wind and string performance at the backstage, solo, and percussion and amusement performance conducted at the god-welcoming tournaments gathering. The substances of this such musical is most diversified and rich, and Lyuan-Tam is of the major component of Bei Guan opera. Lyuan-Tam as seen from the opera history has been long considered as the secularized term for polyglot, and it has developed itself to create its own features after long-term of cultural accumulation and evolution as immigrants to Taiwan have been picking the singing and voices of the genre from its mainland origin. However, since there has been a long period of misuse and confusion with regard to literatures and Bei Guan as well as to the fast dying of opera troupe, it has rendered a great part with respect to the research of Bei Guan that remains to be empty and fuzzy. Though the author, herself born to the family of Be Guan and raised within in the environment of opera, has been soaked with the genre since childhood, she didn’t choose opera performance as her career because she loves writing even more and because of the fast decline of Lyuan-Tam. Until now, the author has devotes herself in the area of writing for more than a decade. Nevertheless, with the fervor for Bei Guan research stirred by “folk theatre” which was first held by the Cultural Construction Council 1982, the research for Bei Guan after development for two decades remains unable to draw back its decline as well as the past away of its performers. Besides, hardly is there any macro-analysis or research has been done on this genre as most of the studies of the predecessors either considered Bei Guan as a kind of folklore or took only a certain part of the musical phenomenon from I for study. As from the perspective of the author, it is attempted to integrate the ethnomusicology, the theory of cultural anthropology, and oral and field investigation of living Bei Guan performer in order to recover the performance activity, administration and management, opera apprenticeship, and aesthetics factors that existed in Lyuan-Tam troupe before the recovery of Taiwan. And the purpose of which is to clarify the meaning of development of Bei Guan after the recovery of Taiwan and its relevant opera behaviors. The materials found in this paper are mostly obtained from field investigation. At the time when Taiwan was first recovered, there were as many as about two hundred performers, only there are now about ten lefts with the fleeting passage of time. In view of such a fast dying opera, it seems that there is not much we can do about it. Living performers such as Wong Chin Fong and Lin Ah Chang are more than seventy of age, while the last lot of apprentices to the opera as Pang Yu Chiu and Liu Yu Ying are as old as sixty-six. Thus, we can see that the work of field investigation is like a running course against time, not a minute can be wasted. At the beginning, the literature will be explained and explored in order to clarify and define what is Bei Guan and Lyuan-Tam, and render criticism on the research results of the predecessors. The content of this paper will focus on exploring the development of Lyuan-Tam in synchronicity and diachronicity terms. With respect to the part of diachronicity, the focus will be placed on the study of development and inheritance of this genre from the perspectives of the society and troupe activity starting from Japanese Occupoation to Taiwan Recovery. As for synchronicity, the focus will be placed on the aesthetics and management among troupes, the interaction of performers, and the performing manner and management of several troupes after the WWII.