劇團師徒制雕塑人生—以全方位演藝工作者C為例

Abstract

為使歌仔戲文化在臺灣得以傳承及保留，培養歌仔戲人才至關重要。因此以臺灣歌仔戲文化中為人稱道的歌仔戲國寶與其創立之歌仔戲劇團為師徒制研究目標，此種獨創之師徒制與一般企業較為不同，不只培養人才的技藝面向，更講究人才的特質與個性雕塑。為瞭解此歌仔戲師徒制之成果，以歌仔戲知名小生、全方位演藝工作者C為本研究對象，運用個案研究與半結構式訪談之研究方法，蒐集該制度下的徒弟看法、曾共事的專家們見證師徒制的運作成果。 研究此劇團師徒制得以成功的關鍵原因，主要包含以下四點要素： 1. 師父需具備三種必要特質：不藏私、多元思維、內化能力。 2. 徒弟需具備三種必要特質：勇於嘗試、學習動機強、企圖心強。 3. 以師父角度出發，需提供徒弟全面性的指導方式，並依照環境、徒弟狀態變化適時調整指導方式。 4. 以徒弟角度出發，在徒弟有所成就後，可提供師父外在的正面評價，亦可使師父內在獲得充足的成就感。

另外，透過匯總徒弟C於歌仔戲歷程四階段（養成、成熟、轉型、創新期）中的成就、活動，研究其全方位演藝工作者商業模式，可供組織培養相關領域學員、其他演藝工作者參考，或企業人才管理、永續經營、建立企業品牌價值之依據，藉此將經驗貢獻於社會。本研究因考量每一歌仔戲劇團皆有不同的管理模式、文化與風格，僅採用師父L的歌仔戲劇團為師徒制的唯一研究目標，師徒制會因應師父與徒弟的個人特質而有不同的教學模式，故本研究僅以徒弟C一人為個案研究對象。

In order to pass on the Taiwanese opera culture, it’s important to cultivate Taiwanese opera talents. Therefore, this paper aims to study the apprenticeship, founded by the national treasure of Taiwanese opera and the related opera troupe. This apprenticeship differs from the general enterprises’ apprenticeship; it not only cultivates the technical orientation of talents, but also emphasizes the characteristics and personality of talents. This study was conducted with C, a well-known Taiwanese opera singer and comprehensive entertainer. In this study, the author used case studies and semi-structured interviews to research the key reasons for the success of the Taiwanese opera apprenticeship. Consequently, the author collected the views of the disciples involved in the Taiwanese opera apprenticeship and the experts they had worked with on the operational results. The key successful elements of this apprenticeship contain four oriented factors: 1. There are three necessary attributes for a mentor to possess: not to keep knowledge private, diverse thinking, and the ability to internalize. 2. There are three necessary arrtributes for an apprentice to possess: the courage to try, a strong motivation to learn, rigorous ambition. 3. The mentor should provide comprehensive guidance to the apprentice and adjust the guidance in a timely manner according to the changes in the environment and the apprentice's status. 4. When the apprentice experiences achievements, it provides the mentor with a positive external evaluation as well as a sufficient sense of internal achievement.

On the other hand, the master obtains the external positive evaluation and internal sense of accomplishment due to the success of the apprentice. In addition, the business model of a comprehensive entertainer was studied by compiling the achievements and activities of C in the four stages of her opera experience: the formative, mature, transformative, and innovative phases. This business model of the comprehensive entertainer can be used as a reference for organizations to train trainees in related fields, or as a basis for corporate talent management, sustainable management, and building corporate brand value, so that the experience can contribute to society. This study only uses L's troupe as the sole target because each opera troupe has a different management model, culture and style. Moreover, this study only uses one apprentice, C, as the case study because the apprenticeship will have different teaching patterns depending on the personal characteristics of the master and the apprentice.