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传统戏曲进入现代剧场演出后,不论在中国大陆或台湾地区,剧场工作者都为了适应文艺政策或迎合现代观众的喜好而进行了不少改革。中国大陆自“戏改运动”起,“戏曲现代化”似乎就成了一条不可逆的路;台湾自上个世纪90年代起,新编戏曲的创作与演出呈现,大量吸取了内地的经验。在新编歌仔戏方面,甚至直接搬演大陆剧作家成功的剧本,仅做少许更动。河洛歌子戏团率先使用了“精致歌仔戏”这个词,定义在现代剧场中演出,有凝固的文本、采用导演制的歌仔戏演出。本文以河洛歌子戏团的《钦差大臣》(改编自俄国剧作家果戈理同名作品),与唐美云歌仔戏团的《梨园天神》(构思来自韦伯的音乐剧《歌剧魅影》)第一版与第二版(《梨园天神——桂郎君》)为例,试图爬梳台湾歌仔戏进入现代剧场后,从西为中用,乃至不断与各种元素试验、融合,并与都市观众的品味一同成长的路。
After the traditional opera entered the modern theater performance, both the theater workers in Mainland China and Taiwan carried out many reforms in order to adapt to the cultural policy or cater to the preferences of the modern audience. Since the implementation of the “Drama Movement” in mainland China, “drama modernization” seems to have become an irreversible road. Since the 90s of last century in Taiwan, the creation and performance of new drama has been presented. experience. In the newly created Taiwanese opera, even direct plays of successful plays by mainland dramatists are only slightly changed. Heluo Ge Children’s Opera Troupe took the lead in using the term “exquisite Taiwanese opera”, which defines the performance in the modern theater with solidified texts. In this paper, the “imperial envoy” (adapted from the Russian playwright Gogol’s works of the same name) of Heluoluo Children’s Theater and the first edition of “The Legend of Liyuan” (conceived by Weber’s musical Phantom of the Opera) The second edition (“The Legend of Liyuan Park - Gui Langjun”) is an example. After trying to climb Taiwan’s Taiwanese opera and enter the modern theater, it tries its best from the West to the West and tries to experiment with various elements and blend it with the tastes of the urban audience The road to growth.