| 摘要: | 本研究以「京劇開蒙戲」為題，探討京劇基礎教育中劇目教學安排的進程。流傳幾代京劇人的開蒙劇目，有其重要性與傳承脈絡的延續性。狹義的開蒙戲僅指演員初接觸京劇時所學的第一齣戲，廣義則指訓練演員各種基礎的戲群組。本研究以訪查當今戲校、訪談京劇演員及文獻傳記之記載，梳理開蒙戲自科班到現今的傳承脈絡，以各行當開蒙戲劇目的演變，從現代劇校所用之教材回溯至科班時期，探討演員從初學習京劇的歷程，理出開蒙戲劇目的脈絡和開蒙戲變化的因素，從中探究京劇演員養成教育的演化。
第二、三章以京劇教育之回顧，自富連成科班歷時四十四年教育經驗，其對十九世紀的京劇科班之承襲，以及其所建立之科班運行模式；1950年代至今逾六十年現代化的京劇教育學校，以臺灣戲曲學院、中國戲曲學院、北京戲曲藝術職業學院和上海戲校的教育狀況及開蒙劇目作一概述，探究開蒙戲的流變。第四、五、六章從生旦淨丑開蒙劇目之變遷、劇目訓練內容、實際教學現場的教材情況、各劇目類型所訓練演員的身段功法之析論等討論，探究劇目之間存在的共同性和劇目的可替代性成因。希冀開蒙戲論題的開展，對了解人類的表演與文化傳承，紀錄一個「正在進行式」的範例，並對當代京劇教育教學方法和教材編撰有所助益。;Abstract
This study features “rudimentary plays of Jingju （Peking Opera） 京劇開蒙戲,” exploring the arrangement of repertoire in the basic education of Jingju. The rudimentary plays handed down by generations have its importance and continuity in context of heritage. The narrow sense of rudimentary plays only means the first repertoire learnt by Jingju beginners, whereas the broad sense means all basic groups of repertoire for actor training. Based on fieldwork at theatre colleges, interviews with Jingju actors, literatures and biographies, this study sorts out the context of heritage since the early period of Keban 科班（old-type opera school）, discussing the procedure of Jingju learning, analyzing the context and the varying factors of rudimentary plays, and the evolution of basic education of Jingju actors through the evolution of rudimentary plays of all roles and the teaching materials from Keban to modern theatre schools.
The first three chapters introduce the forty-four years’ educational experience of the Keban of Fu Lian Cheng 富連成科班, the succession from Jingju Kebans of the 19th century, and the operating model that Fu Lian Cheng has established. Then, this study introduces the circumstances of education, the rudimentary plays and its evolution of Jingju vocational schools such as National Taiwan College of Performing Arts, National Academy of Chinese Theatre Arts （Beijing）, Beijing Opera Arts College, and Shanghai Chinese Opera School. In the latter three chapters, this study introduces the evolution of rudimentary plays of all sorts of roles, including Sheng 生（male role）, Dan 旦（female role）, Jing淨（painted face male role）, and Chou丑（clown role）. Training content and teaching materials in practical education are also introduced. Then, this study tries to figure out common characteristics and the factors of alternativeness among these repertoires by analyzing the posture training provided in these rudimentary plays. With research on rudimentary plays of Jingju, this study, as a record of processing model of performing arts and cultural heritage, hopes to be beneficial to the methods of modern Jingju education and the compilation of teaching materials. |
