本論文針對施叔青的小說《行過洛津》，就文本架構的七子戲舞台及其時空背景，探討伶人與歌伎。 論述的架構分為五個章節，第一章是緒論，分別解釋個人的研究動機，接著說明文獻回顧，並由文獻回顧之中所累積的資料，進行問題意識的醞釀。 第二章由爬梳七子戲的淵源作開展，藉特有的童伶風貌、傀儡身段、皇室排場等特質，逐步探索小說依循的劇種脈絡，再由洛津當地的廟宇建築、人口結構、經濟發展來感受好觀劇的台灣風氣，呼應小說中的主人翁許情三次行過洛津之緣由，並由史籍資料及前人作品佐證當時七子戲在台灣廟宇慶典中盛行的概況。 第三章從文本塑造的伶人，透過習戲的過程、延滯變聲期來看七子戲童伶普遍的來源與歸處，且由文人與郊商品花捧角之好窺探男風盛行之因。 在性別的議題上，以南管名劇「荔鏡記」與歌伎的結合為基準點，將伶人與戲班、歌伎作性別覺醒前後的探討。 第四章援引小說中的賣女契約瞭解清末歌伎的來源，隨著施叔青形塑的歌伎習藝過程、纏足、黑齒的審美觀，以及附文人之風雅的詞曲培訓，理解將中國千年以來的青樓文化延續至離島台灣後所呈現的另一風貌。 在歌伎的繁華落盡之際，細究其自處之道，並與伶人的生涯規劃作參照。 第五章在就小說、論小說的大原則下，總結伶人與歌伎的台上風華與下台身影。 ;The aim of the thesis focuses on the actors and Chinese geisha in Shi Shu Ching’s “Passed through Luo Jin” based on the context structures of the stage in Chhit-Kioh-Hi and its social cultural background. The first chapter is the introduction which explains the reserach motivation and literature reviews, developing the questions through reviews of literature. The second chapter starts with the origin of Chhit-Kioh-Hi, exploring the drama contexts by the unique features of young actors, the movement of puppets, the arrangement of the royal settings in “Passed through Luo Jin”. The atmosphere shows how people appreciate dramas from the oberservation of the local religious architectures, demographic structure and economic develepment in Luo Jin which corresponds to the reasons why Hsu Ching passed through Luo Jin thrice. Additionally, Chhit-Kioh-Hi at that time was popularized and prevailed in the temple celebration, which was proved by historical records and works in the past. The third chapter concentrates on the origin and following development of young actors in Chhit-Kioh-Hi from the viewpoint of how they learned acting and prolonged adolescent change of voice, which also explains the peeking favor of intellectuals and businessmen. From the gender perspecitve, the study probes gender consciousness of actors, troupe ,Chinese geisha with the comparison of well-known Nanguan drama Li Jing Ji. In the fourth chapter, the beginning of Chinese geisha in the final Qing Dysnasty was observed from the selling-daughter contracts in the novel. The process of how the Chinese geisha learned acting, being foot-binding, and being tooth-darkening is interpredted as a new view of Chinese thousand-year lasting prostitute culture moving to Taiwan. The study thoroughly investigates the actors after they got retired and development in the future. The fifth chapter concludes actors and Chinese geisha’s splendid performace on stage and figure off stage by reviewing over the novel.
