客家戲班的文化展演：以新竹地區三個客家戲班為例 ; Cultural Performances of Hakka Opera Troupes: The Case Study of Three Hakka Opera Troupes in Hsinchu

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題名:	客家戲班的文化展演：以新竹地區三個客家戲班為例;Cultural Performances of Hakka Opera Troupes: The Case Study of Three Hakka Opera Troupes in Hsinchu
作者:	謝佳玲;Chia-ling Hsieh
貢獻者:	客家社會文化研究所
關鍵詞:	文化展演;客家文化;客家戲班;客家大戲;Cultural Performance;Hakka Culture;Hakka Opera troupe
日期:	2010-07-28
上傳時間:	2010-12-09 10:55:28 (UTC+8)
出版者:	國立中央大學
摘要:	本研究以文化展演為概念，探討台灣客家戲班在地方民間節慶與文化公演不同場域的演出，視其為呈現客家文化內涵的文化展演事件。筆者著重於戲班演出場域的背景脈絡，及文化展演者(演員)對於客家戲的演出觀點作分析，最後提出客家戲班的文化展演表現了哪些台灣客家文化的特色。本研究以人類學田野方法搜集資料，選定新竹三個戲班為研究對象。以參與觀察法了解戲班的演出活動，拍攝實地演出的影音記錄與撰寫田野筆記。此外配合深度訪談法了解演員個人的不同觀點，並建立訪談逐字稿。最後再依據田野的參與觀察及訪談資料，進行客家戲班的文化展演分析。筆者透過戲班演出的田野觀察與演員觀點的了解，發現客家戲班展演場域歷經從民間節慶到文化公演的轉換，演員也認為他們的演出由原本地方性的「作大戲」傳統，逐漸轉變為帶有對外呈現「客家大戲」的客家文化意識存在。實際展演內容中，客家戲演員一致認為唱採茶與客家語言是戲班展演客家文化的獨特特色，因為帶有客家元素的音樂語言，透過與戲的結合更靈活地呈現。演員也將日常生活經驗轉移至戲台展演，在戲中呈現客家族群的生活文化。客家戲班除了應用原本的客家戲劇與文化元素之外，筆者觀察到晚近新興的戲班已減少唱採茶的部分，而改用新編曲調，並強調作戲時的聲光效果，有別於一般客家老戲班的展演形式，形成另一種文化展演風格。This research explores the performances of Hakka Opera troupes with the concept “cultural performances”. In this thesis, I will discuss how Hakka Opera troupes perform in folk festivals and cultural activities. By analyzing performing fields of troupes and the viewpoints of performers, the goal of this research is finding the cultural characteristics displayed by the performances of Hakka Opera troupes. In this research, I use the way of anthropological fieldwork and choose three Hakka Opera troupes in Hsinchu as my target groups for the case study. The participant observation method is used, and I get acquainted with the troupes. During the fieldwork, the performances are recorded by camera, video camera, and journals with details of the performing activities. Besides the field study, I made in-depth interviews with performers of these troupes to understand their thoughts about performing on stage. After that, I used the data collected from the fieldwork and interviews to analyze about the cultural performances of Hakka Opera troupes. Through the observation of performances and the performers’ viewpoints, I found that these Hakka Opera troupes have gone through the change of performing fields from folk festivals to cultural activities. Originally, the performers perceive their performances as only “Zo-da-xi”(traditional big scale opera for the god) in local folk festivals. As the stage switching to the cultural activities, they started to regard their performances as “Hakka Opera,” which means to present their Hakka culture to the public formally. That also means that they begin to care about how to perform on the stage and how to present the Hakka culture properly. In the performing context, most performers agree with that both the tune patterns “Cai Cha” (Tea-picking) and the Hakka language are ways of displaying the speciality of the Hakka culture. It is because that a unique technique of the Hakka opera performance must combine skillfully with the Hakkanese language and music. The performers need to transfer their experience of the everyday life to their performances, which thus could present Taiwanese Hakka people’s life and culture. Apart from using the original Hakka cultural element, some newly emerging Hakka Opera troupes tries to reduce the “Cai Cha” tune patterns in their performance and use the new-composed tune patterns to replace. These troupes lay more stress on the sound and light effects to cause audiences’ attention, which is different from the old Hakka Opera troupes. In fact, this is another performance style of the Hakka opera culture.
顯示於類別:	[客家社會文化研究所] 博碩士論文

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