外台歌仔戲胡撇仔戲服飾研究－－以台北藝人為例;The case study of the outdoor opera (o-pe-la)costumes

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Title:	外台歌仔戲胡撇仔戲服飾研究－－以台北藝人為例;The case study of the outdoor opera (o-pe-la)costumes
Authors:	徐祥峯;Hsu,Hsiang-Feng
Contributors:	中國文學系
Keywords:	外台歌仔戲;胡撇仔戲;胡撇仔戲服飾;戲曲服飾;Taiwanese opera of outdoor stages;o-pe-la;the costumes of o-pe-la;costumes
Date:	2016-07-25
Issue Date:	2016-10-13 12:38:53 (UTC+8)
Publisher:	國立中央大學
Abstract:	台灣在地孕育的劇種－¬－歌仔戲，由於是個年輕劇種，較沒有歷史的包袱，又在其發展過程中，經歷不同政權的統治，因此包容性與吸收能力較強，不管什麼樣的元素，只要認為有幫助於演出效果，就可以直接置入於歌仔戲中，養成「拿來就用」的習慣風氣，而服飾的變化亦是如此。歌仔戲初登正式舞台時，演出內容較多是傳統劇目，服飾造型部分大多承襲自其他傳統戲曲系統，但經過內台時期又受日據時期皇民化運動的影響，有了「新劇」的衝擊以及其它因素，產生了「胡撇仔戲」。因為這層的關係，影響了歌仔戲原有的表演模式與服飾穿著，開啟了胡撇仔戲的創新之路。內台時期的胡撇仔戲在服飾上已經有所變革。當轉出外台演出時，因為胡撇仔戲通常在晚上演出的關係，為了吸引觀眾的目光，和演員愛美的天性以及多種因素下，使得產生一連串追求亮麗的外台胡撇仔戲服飾變化。因應社會的變遷，與內外台的轉換，外台歌仔戲或是胡撇仔戲演出重心逐漸都放在演員身上。外台演出環境逐漸式微，團長與演員們除了削價競爭，尋求演出機會，還有就是利用華麗的服飾裝扮去吸引台下觀眾，讓雇主（請主）滿意，達到另類的宣傳效果。然而演員為重心的演出，演員們就會注重外表的裝扮，購買新的戲服，戲服製作者也會為吸引顧客，除了符合演員的需求，還會額外花心思去設計新款戲服。因此，本研究以演員對於外台夜戲所演出的胡撇仔戲服飾的需求觀念，與各種會影響該服飾變化的因素，去統整出不同時期外台胡撇仔的戲服類型與樣貌。進而，歸結討論現今外台胡撇仔戲服飾的樣式與用途。本論文研究對象為外台胡撇仔戲，包括胡撇仔戲的概括範圍，表演要件和型態。同時，整理研究外台胡撇仔服飾的歷史脈絡，角色的區別等，進而探討外台胡撇仔服飾的布料需求以及市場和演員個人的需求。並從演員、觀眾、戲服創作者等角度，分別了解他們的審美觀念，為什麼會產生這樣的外台胡撇仔服飾文化。最後做出總結，透過結合大眾通俗文化與物質文化，結合戲曲服飾美學的綜合析論，歸納外台胡撇仔服飾的價值，並對其未來提出展望，及省思文化意涵的傳承。 ;Taiwanese opera originated in Taiwan. It is rather new in the traditional drama history. Therefore there is comparatively no burden of history. In its development process, it can experience different regime′s rule, inclusion and make it have strong absorptive capacity. No matter what kind of elements, if it can help to show the effects, it will be directly placed in the opera, to develop "brought on by" customary ethos. This is very common in its costumes. In the early development, the shows were more traditional repertoire. The costumes mostly inherited from other traditional opera systems, but after it influenced by the Japanese during the Colonial period, especially on the outdoor stages, with the impact of the "New drama" and other factors, the new style of performance ‘o-pe-la’ was born. It affected the performance of the original style and the costumes. It led the traditional Taiwanese opera to a more creative o-pe-la style.. Actually, it had a little change of the costumes in the period of the opera house. However when the shows performed from the indoor to the outdoor, the shows mostly performance at night, they needed more fascinating elements to catch the audiences’ eyeballs. Even the actors and actresses loved to be the most fabulous on the stage. They were crazy to pursue shinning and fabulous costumes. It brought a hung change for the costumes of the outdoor stages period. In response to social changes, many performances shifted from the opera houses to the outdoor stages. The selling point of the opera was not only the drama. It shifted to the appearance of the actors and actresses in order to attract the audiences. And also the opportunity to perform was intensively competitive, the actors and the actresses would like to make extra effort on the costumes. Therefore, this study focuses on the factors which affect the development of the costumes for the outdoor opera stages. In addition, it will compare with the styles and purposes between the costumes of nowadays and the past. In this paper, it is the study of the outdoor stage of Taiwanese opera, including the general scope of o-pe-la, the requirements and the patterns of the performance. At the same time, organize the historical context and the differences between the characters, and then explore the fabric needs for the market and the needs of individuals and actors. And from the actors, the audience, costume creators angles, respectively, to understand their aesthetic ideas, why would such form of outdoor performance happened. Finally to make a summary, through a combination of mass popular culture and material culture, combined with comprehensive analysis on opera costumes aesthetic value of the outdoor stages, and put forward the prospects for its future, and reflection on cultural heritage implications.
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