臺灣京劇生產與生態變遷（1965-1995）

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题名:	臺灣京劇生產與生態變遷（1965-1995）
作者:	黃書瑾;Huang, Shu-Chin
贡献者:	中國文學系
关键词:	臺灣京劇史;臺灣京劇創作史;京劇物質文化;京劇傳播史
日期:	2024-07-26
上传时间:	2024-10-09 15:19:01 (UTC+8)
出版者:	國立中央大學
摘要:	本研究由劇本創作與改編出發，參酌歷史、政治與社會環境變遷對產業之影響，欲將京劇創作與改編置放於創作與傳播實務中考察。透過本次研究可以發現，中華民國政府遷台以後的京劇發展，實際上是產業重整與政治條件影響下，被賦予不同期待所催生。初期因應對抗中共之故，京劇被作為精神總動員與藝術外交的材料，獲得政府大力挹注，產生多樣的嘗試，在演出場合與推廣概念上都見成長，但表演風格也因此產生消長。而在台灣省戒嚴令解除之後，兩岸日漸恢復交流，京劇則被戲迷期待作為窺探海峽彼岸流派名伶的窗口。綜觀臺灣的京劇發展歷史，政府需要為政策服務的京劇，劇團與演員也在尋找京劇該有的樣貌，故而先後有劇作家、演員與票友投入，甚至在追求名伶的心態下，冒險引進當時禁止的大陸作品。然而回顧當時的演員與劇團組織，由於他們的養成和來源各不相同，對京劇的追求也見歧異，反而在選擇劇本上各有原則，並不會全盤接受。倘若就傳播的角度來看，廣播、電影與文字出版品，也分別折射出不同製作單位／閱聽人／目的／年代，對創作、改編與傳統劇目的取捨，成為京劇發展史的又一旁證。整體而言，時勢造就政策意圖，而政治、社會與產業等多重因素，則潛移默化養成演員的創作自覺，雖然今日回頭檢視這批劇作，已有許多作品為媒體所捨棄，甚至最終絕跡於舞臺，但或許正是此間反覆的嘗試，方能造就今日臺灣京劇的包容與多彩。;This dissertation starts with scriptwriting and adaptation, considering the impact of historical, political, and social changes on the industry, and aims to place Peking Opera creation and adaptation within the practical contexts of production and dissemination. The study reveals that the development of Peking Opera in Taiwan after the Republic of China′s relocation was essentially a product of industrial restructuring and political influence, shaped by various expectations. Initially, in response to the confrontation with the Chinese Communist Party, Peking Opera was used as a tool for national morale and cultural diplomacy, heavily supported by the government. This led to diverse experiments and growth in performance venues and promotional concepts, though it also caused fluctuations in performance styles. After the lifting of martial law in Taiwan, cross-strait exchanges gradually resumed, and Peking Opera became a window for enthusiasts to observe the styles and celebrities from the other side of the strait. Throughout the history of Peking Opera in Taiwan, while the government utilized Peking Opera for policy purposes, troupes and performers sought its authentic form. Thus, playwrights, actors, and aficionados successively engaged in the art, sometimes even taking risks to introduce then-prohibited works from the mainland in pursuit of renowned performers. However, reviewing the actors and troupe organizations of the time, their diverse backgrounds and origins led to differing pursuits in Peking Opera, resulting in varied principles for script selection rather than total acceptance. From the perspective of dissemination, radio, film, and publications reflected different production units, audiences, purposes, and eras, providing another corroboration of the choices in creation, adaptation, and traditional repertoires in the history of Peking Opera′s development. Overall, the times shaped policy intentions, while political, social, and industrial factors subtly nurtured the creative awareness of the performers. Although many works from that period have been abandoned by the media and even disappeared from the stage, it is perhaps through these repeated experiments that the inclusive and vibrant nature of today′s Peking Opera in Taiwan has been forged.
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