台語歌謠「四季紅」主題情境之插畫創作與研究

Abstract

本創作研究旨在傳承台灣歌謠，以期提供文化從業人員更多創意來源，並希望藉由歌謠插畫化，將台灣文化的豐富性從不同觀點呈現出來。 首先探討台語歌謠產生的本意，著墨在台語歌謠於台灣發展歷史的文獻分析與比較，佐以鄧雨賢、李臨秋的生平故事，了解四○年代台灣的生活背景，剖析「四季紅」在曲調、歌詞形式及文化等方面所代表的時代意義。 本創作研究亦實際以歌謠本意作為插畫表現的內容與形式，其中以「如何將歌詞轉換為圖像」、「結合台灣風土民情」為插畫創作時的主要表現內涵。藉案例分析，比較鄧雨賢、李臨秋二人關於「四季」的曲目，有系統整理出二十四節氣在台灣農村所反映之民情、代表之特產、諺語等；另外，亦解讀日本、美國在「四季」曲目中所蘊含之弦外之音，以求更深刻的描繪出四季與人文的景象。經過對文獻整理、案例分析以及創作脈絡的詳細記錄，可以清楚看出插畫對台語歌謠創作之可行性效益，其結果不僅可作為經典歌謠傳承之管道與媒介，亦可作為設計人表現台灣鄉土文化時，極為便利之參考資料。 研究者亦借鏡蒙德里安（Piet Cornelies Mondrian 1872~1944）「百老匯爵士樂」（Broadway Boogie-Woogie）中，視覺與聽覺轉換的模式，探討如何彙整題材、安排構圖與色彩之應用，並透過「四季紅」歌謠表現2D閱讀性之插畫圖示的過程，呈現出插畫與歌謠在本質上的共通性－「反映風俗民情」，便於觀賞者產生共鳴與聯想，使之能夠「看圖說故事，聽歌話台灣」。 以插畫表現出台語歌謠＜四季紅＞的本意與歌詞意境，使歌謠增加視覺化想像；從插畫圖像中台灣農村之生活圖像，便能理解台語歌謠＜四季紅＞中原創作者生活的時代背景；藉插畫將＜四季紅＞的深度性傳達出來，並以不同的主要角色，表現人一生中最精華的時期，也就是「紅」字之於台灣的精神意義。 The objective of this creative illustration is to probe into the innovation spirit of Taiwanese folk songs, spotlight on the comparative scenario study among various historical documents and literature related with the theme: “Red in Four Seasons”. “Red in Four Seasons” is a popular Taiwanese folksong written by a genius composer Yu-sian Deng (鄧雨賢)and a versatile lyricist Lin-chou Lee (李臨秋)in 1938. In Taiwan, red usually stands for happiness, glory, longevity, fortune and most of the favorite signs of life. Red dress, envelopes, fruits, crops, red cheeks are always preferred and cherished. By referring and assimilating the analogous four-season songs in Taiwan, Japan and America, the author is trying to divide Taiwan’s 24 solar terms into the local customs and practices within four seasons. Thus create a 2-D illustration tinted with varied hues of red essence by linking the scenes of Taiwan’s countryside, the fragrance in full bloom, the beaming of seasonal fruits, the joy of a good harvest, the festivals, the love between couples, the cuddly newborn, the affection among generations.... Lots of artistic episodes and overtones await the resonance of the audience. The main purpose is to build up a feasible two-way street between illustration and folksong which will thereby fortify the visibility and legibility. Visual or even auditory imagery allows the audience, singers and listeners to perceive the scenes or even implications in and out of the lyrics and thus become immersed in the indigenous whispering of the grass roots. In such a way the author is attempting to enhance the practical benefit of illustration to folksongs, hence flourish the traditional cultural productivity as well.