Scenario

00 做 活 戲 的 幕 後 推 手 : 臺 灣 歌 仔 戲 知 名 講 戲 人 及 其 專 長 前 言 Commedia dell Arte Scenario Marvin T. Herrick, Italian Comedy in the Renaissance, Chapter the Commedia dell Arte and Learned Comedy, Freeport, New York: Books for Libraries Press, 0. pp.0-.oscar G. Brockett, History of the Theatre, seventh edition, Chapter Italian Theatre and Drama, 00-00, Boston : Allyn and Bacon,. pp.-. Commedia dell Arte -221-

Scenario 00-00 00 - -222-

一 歌 仔 戲 做 活 戲 講 戲 人 才 的 養 成 ( 一 ) 前 輩 講 戲 人 的 啟 發 - 00 0-223-

10 11 00-00 10 11 00/0/0-/0-224-

12 13 12 13-225-

( 二 ) 家 族 傳 承 14 15 14 15 00 - -226-

16 17 珷 珷 珷 珷 18 16 00 17 00 0 18 珷 珷 -227-

19 二 歌 仔 戲 做 活 戲 知 名 講 戲 人 及 其 專 長 20....... 21 19 20 21-228-

( 一 ) 傳 遞 型 的 講 戲 人 22 22-229-

23 24 25 23 24 25-230-

26 27 ( 二 ) 導 演 型 的 講 戲 人 26 27-231-

28 28 00-232-

29 珷 珷 珷 30 ( 三 ) 編 劇 型 的 講 戲 人 29 00 30 珷 -233-

31 32 峯 31 32-234-

33 34 35 36 33 34 35 36-235-

37 38 珷 珷 珷 珷 珷 37 38 00-236-

珷 39 0 40 41 39 珷 40 41-237-

三 從 執 行 面 看 講 戲 人 對 戲 劇 演 出 的 影 響 ( 一 ) 態 度 決 定 高 度 42 42 - -238-

43 44 45 43 44 45-239-

( 二 ) 技 巧 與 效 率 -240-

46 47 48 OS (off stage) 49 ( 三 ) 權 力 的 微 妙 驗 證 46 00 47 48 49-241-

50 51 52 OS 50 51 00 52 00-242-

結 語 53 53 00-243-

珷 -244-

54 珷 0 I I 54-245-

- -246-

0// 0// 0// 0// 0//0 0//0 0/0/ 珷 0/0/ 0//0 0 0// 0//0 0// 0// 0//0 0//0 0// 0// 0// 0// 0 0// 0// 0// 0/0/ 0/0/ 0/0/ 0/0/0 0/0/ 0// 0// 0 0/0/ 0/0/ 0/0/ 0/0/0-247-

0/0/ 0/0/0 0/0/0 0/0/ 0/0/0 0/0/0 0 0/0/0 0/0/0 0/0/0 0/0/ 0/0/ 0/0/ 0//0-248-

做 活 戲 的 幕 後 推 手 : 臺 灣 歌 仔 戲 知 名 講 戲 人 及 其 專 長 關 鍵 字 : 歌 仔 戲 做 活 戲 即 興 戲 劇 講 戲 人 幕 表 -249-

Movers behind Living Plays : Taiwanese Opera s Prominent Scenario Tellers and Their Expertise LIN Ho-yi Outdoor Taiwanese Opera, often performed on religious occasions, preserves the tradition of doing living plays, namely plays that are impromptu in nature as opposed to those with a fixed text. With no written scripts, the basis of a living play could instead consist of a list of scene titles and characters, or even a simple storyline. For the most part, it is completed by improvisational collaboration of the cast and the musicians. The key figures behind these plays are the so-called scenario tellers who are in charge of duties such as devising the scene chart and serving as a leader during rehearsals. The primary function of a scenario teller, usually an actor himself, is to ensure the dissemination of the repertoires. For long, the Taiwanese Opera has nurtured many prominent scenario tellers who have helped keep the old plays alive and create new ones. On certain occasions their leadership is not unlike that of a director. The present study, analyzing the scenario tellers of Taiwanese Opera, focuses on people. It first explores the process of nurturing a scenario teller, which often entails the guidance of predecessors, and stems from a family tradition. Then, based on field research, the study categorizes scenario tellers into three types: the disseminator, the playwright and the director. Prominent figures of each type, and their expertise, will be the focal point of this part. Lastly, by investigating the methods of certain scenario tellers, the study illustrates how, by ways of attitude, artistry and authority, a scenario teller profoundly influences the overall production. The ultimate goal is to reconstruct the essence of the living plays in Taiwanese Opera, especially the aspects of narrative techniques and concepts. Keywords: Taiwanese Opera living plays improvisational theatre scenario teller scenario charts -250-

徵 引 書 目 : 00/0/0-/0 00 00-00 00-00 Brockett, Oscar G. History of the Theatre, seventh edition. Boston : Allyn and Bacon,. Herrick, Marvin T. Italian Comedy in the Renaissance. Freeport, New York: Books for Libraries Press, 0. -251-

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