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題名 | 論臺灣皮戲「蔡伯皆」=A Discussion of the Taiwanese Shadow Play Cai Bojie |
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作者 | 林鋒雄; | 書刊名 | 漢學研究 |
卷期 | 19:1=38 2001.06[民90.06] |
頁次 | 頁329-353 |
分類號 | 986.8 |
關鍵詞 | 臺灣; 皮(影)戲; 伯蔡皆(喈); 潮調; 青陽腔; Taiwanese shadow theater; Cai Bojie; Chaozhou shadow theater; Qingyang opera; |
語文 | 中文(Chinese) |
中文摘要 | 本文透過對臺灣皮戲《蔡伯皆》各齣的分析,隱隱看見明代青陽腔系統的《琵琶記》散齣,還存活在臺灣皮戲《蔡伯皆》的血肉之中;清代舞臺上流行的崑曲《琵琶記》折子戲的表演,在流傳的過程中,也影響著潮調皮戲《蔡伯皆》的分齣;潮調皮戲的藝人,也有著豐沛的創造力,如〈趙氏勒路〉後段,潮調皮戲藝人透過五娘自問自答的長篇唱段,充分表現了五娘內心對伯皆深深的不滿,把戲劇推向對立,推向高潮。 潮調皮戲藝人至晚在《東華家傳抄本》的年代,在舞臺上,就把〈張公掃墓〉於〈伯皆認相〉之前了。透過李旺的行為,以及李旺和張廣才的對話,舒緩了觀眾對蔡伯皆不滿的情緒,使戲劇的發展從對立趨向和解;他使觀眾更容易接受緊接而來的伯皆與五娘之悲逢相認。因此,筆者認為,臺灣皮戲《蔡伯皆》建構的情節發展,令人擊節讚賞。 臺灣皮戲《蔡伯皆》由〈黃門上奏〉切入,充分表現伯皆辭官不能辭婚不能的悲慎;因此,臺灣皮戲《蔡伯皆》,臺以在有限的情節中,均衡地塑造了「全忠全孝蔡伯皆」、「有貞有烈趙貞女」、「施仁施義張廣才」這三位人物。這種戲劇表現,似乎更貼近高明《琵琶記》的真義了。 |
英文摘要 | In examining the Taiwanese shadow play Cai Bojie, we can find traces of the Ming dynasty ingyang opera The Pipa Romance. Moreover, we also find that the practice of performing excerpts from the popular Qing dynasty Kun opera version of The Pipa Romance influenced the division of scenes in the later Chaozhou shadow play version of Cai Bojie. The great creativity of Chaozhou shadow play artists can be seen in such scenes as "Zhao shi le lu," where in a long self-guestioning soliloquy, Zhao Wuniang expresses her deep inner dissatisfaction with Cai Bojie, creating a sense of tension and confrontation the pushes the play towards its climax. No later than the ear of the Dongshan Clan Manuscript, the Chaozhou shadow play artists began placing the "Zang gong mu" scene before the "Bojie ren xiang" scene in their performances. The behavior of Li Wang, and his dialogue with Zhang Guangcai, assuages the audience's dissatisfaction with Cai Bojie. This marks the shift from confrontaion to reconciliation in the sory, and better prepares the audience for the tragic reunion between Cai Bojie and Zhao Wuniang that follows. The author therefore finds the Taiwanese shadow play version of Cai Bojie to be quite praiseworthy in terms of structure and plot development. Starting with the "Huang men shang zou' scene, the Taiwanese shadow play Cai Bojie gives full expression to the despair felt by Cai Bojie due to the conflict between his official duties and marriage. Moreover, the play is successful, within a limited plot structure, in richly portraying the characters of the loyal Cai Bojie, the faithful Zhao Wuniang and the upright Zhang Guangcai. This dramatic expression seems to bring us closer to the true message of the Pipa Romance. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。