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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/80260

    Title: 客家戲幕表戲研究;A Study of Mubiao-xi in Hakka Xiqu
    Authors: 馮文星;FENG, WEN-HSING
    Contributors: 中國文學系
    Keywords: 客家戲;幕表戲;即興;鏨頭;Hakka-Xiqu;Mubiao-Xi;Improvisation;Cham-Thau
    Date: 2019-07-09
    Issue Date: 2019-09-03 12:26:57 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 以小戲崛起的客家採茶戲,在演出模式中,民間藝人一方面摸索出客家曲牌的創作形式,另則通過吸收其他劇種的優點,從而演變一套稱為「幕表戲」的表演形製。幕表戲「劇無定本」,當下性、變異性和流動性是其突出的形象特徵。
    ;The Hakka tea-picking Xiqu was originated from the early stage of drama. Artists explored the creation of Hakka Xiqu songs and learnt from the merits of other forms of dramas. As a result, a new kind of performances called “Mubiao-xi”. Mubiao-xi was developed. The prominent image features of “Mubiao-xi” are the non-fixed scripts, the focus on the “present” , its variability and mobility.
    If a “Mubiao-xi” is performed by the same group of people for many times, the “
    cham-thau” (鏨頭), lines and singing style that are popular with the audience will be gradually fixed, and the actors will perform according to the set. The nature of improvisation of “Mubiao-xi” exists in how the actors improvise the “set-up order” (「套式拼湊順序」). This order is controlled by the actors themselves. It is not developed out of nothing and actors’ wild imagination. The improvisation of the orders can be changed by the actors. The different sets of orders will only affect the presentation of the show, but will not affect the ending. Therefore, it may not be accurate to describe it as improvisation, which is also why some artists call it "live drama” (活戲).
    If we look at the development of the Chinese Xiqu, most of the sub-types of them experience the process of having to start with improvisation to having a fixed script, and it occurs recurrently. If the “Mubiao-xi” is ignored in the development, its status in the development of the Chinese Xiqu pera will not be acknowledged.
    Taking the author′s long-term practice of Hakka Xiqu performance as the main point of view, this research analyzes the development of the “Mubiao-xi” and how it has been shaped to the present appearance. It also explores how the Hakka “Mubiao-xi” is produced from the "inside" and "outside" angle of the drama. It also discusses the performance patterns of the Hakka Xiqu and finally, explores the obstacles it faces.
    Appears in Collections:[中國文學研究所] 博碩士論文

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