聽的延伸:1960-70年代黃俊雄布袋戲錄音史料考察 (I)
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2014/08-2015/07
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本計畫「聽的延伸:1960-70年代黃俊雄布袋戲錄音史料考察」,是延續本人長期關注的學術 議題。 首先,是跨媒體的戲劇議題。尤其是執行國立傳統藝術中心研究計畫「臺灣布袋戲主題曲研 究計畫1960-70」,使我們不得不去反省戲劇與電視、廣播、唱片等不同媒體之間的交互影響。 1960-70時代的黃俊雄,不僅在臺北西門町今日世界做商業劇場的現場表演,他的史豔文也透過 臺灣電視公司的播放,而掀起布袋戲作為一種當代的時尚流行。透過廣播公司、唱片公司的放送 與發行,而使得布袋戲的閱聽對象,不再僅止於戲劇的現場表演,而且滲透到不同的媒體領域, 而造成一種複數動員的效果。如果以麥克魯漢的話來說,這種現象相當於一種聽的延伸,從現場 表演的聲音,透過現代錄音保存技術,可進而延伸到電唱機、廣播、電視。釐清相關的現象,將 有助於傳統戲劇的推廣及其可能性的思考。 其次,是布袋戲發展史料的考察。戰後錄音技術的出現,不應只是簡單地視為科技的演變而 已,而是必須思考它與布袋戲表演之間的互動關係。1960年代左右,臺灣出現許多布袋戲有聲資 料,包括當年各地重要的布袋戲師傅,例如李天祿、許王、黃俊卿、陳俊然、黃秋藤、鄭壹雄等。 為什麼是1960年代,而錄音技術的成熟對於布袋戲產生什麼影響,包括表演風格是否產生什麼 改變,或間接促使自創戲齣等,都是很值得思考的學術議題。透過這種史料的實證考察,將有助 於我們對於這個時代的布袋戲具備整體歷史脈絡的理解與反省。 從戲劇本身來考察,本研究計畫涵蓋古冊戲到自創的金剛戲齣,目前可以找得到的有聲資料, 可粗略區分為郭子儀系列、六合系列、史豔文系列。郭子儀,雖然在章回小說也約略可找到故事梗概,但也可說是黃俊雄延續自父親黃海岱的帶家齣《五虎戰青龍》。而六合系列,則是黃俊雄 在臺灣各地商業劇場廣受歡迎自創布袋戲齣的結晶。史豔文系列,不僅是他在電視布袋戲的著名 戲齣,而且也透過唱片、廣播而延伸至閱聽人的耳朵。考察這三個系列的影音史料,各有其代表 性。透過跨系列相關戲齣的整理與比較,或許我們將更能理解這位布袋戲主演長期的訓練的基 礎,還有他往後的創作靈感來源。藉著本研究計畫的深入考察,將有助於我們跨越傳統戲劇的認 知,甚至了解布袋戲創作的可能性。
This project “Extensions of ear: Huang Junxiong5s puppet theatre in 1960s-70s” will explore major three problems. First, we’ll re-examed the phenomenon of Huang Junxiong’s puppet theatre in 1960s-70s. He was not only one of the great commercial theatre’s actors in Taipei, but also a very famous program’s creator, by television, by broadcast, and by phonograph. This phenomenon could be said, by the word of McLuhan, ‘the extensions of ear’. The role of Huang is a hybridity of puppet theatre/ television/ disk record, as the word ‘hybridizations of the media’ of McLuhan, or ‘intermediality’ of Patrice Pavis. To analyse the meating of that phomanon will contribute an alternative possibility of thingking the traditional theatre’s future. Secondly, we’ll reconsider the problem of performance in the age 1960s-70s, the interaction between puppet theatre and the other media. Under the influence of the technique recorder, the puppet theatre changed his performance’s style or indirectly made those new programs invented. Finally, this projet’s object involte many different type of puppet theatre, from very traditional to quite new. We’ll recollect those the performance textes and discover the existence of ‘plastic compositional unit’ by survey those texts transcribed.
This project “Extensions of ear: Huang Junxiong5s puppet theatre in 1960s-70s” will explore major three problems. First, we’ll re-examed the phenomenon of Huang Junxiong’s puppet theatre in 1960s-70s. He was not only one of the great commercial theatre’s actors in Taipei, but also a very famous program’s creator, by television, by broadcast, and by phonograph. This phenomenon could be said, by the word of McLuhan, ‘the extensions of ear’. The role of Huang is a hybridity of puppet theatre/ television/ disk record, as the word ‘hybridizations of the media’ of McLuhan, or ‘intermediality’ of Patrice Pavis. To analyse the meating of that phomanon will contribute an alternative possibility of thingking the traditional theatre’s future. Secondly, we’ll reconsider the problem of performance in the age 1960s-70s, the interaction between puppet theatre and the other media. Under the influence of the technique recorder, the puppet theatre changed his performance’s style or indirectly made those new programs invented. Finally, this projet’s object involte many different type of puppet theatre, from very traditional to quite new. We’ll recollect those the performance textes and discover the existence of ‘plastic compositional unit’ by survey those texts transcribed.