道卡斯族的臺灣亂彈藝術傳承：以苗栗後龍新港「東社班」藝人與活動記憶為例

Cultural Transmission of Luantan Art in the Taokas Community: Memories of Artists and Events of Tang-SiāTroupe from Xingang, Miaoli

亂彈藝人常提及「東社班」三個字，老一輩戲迷憶及亂彈風華亦多有回憶，然蒐尋臺灣地方史誌及戲曲相關資料，一無所獲，究竟「東社班」由何人組班、何時開始投入表演活動、如何經營與培育藝人等，隨著社會型態轉變、職業亂彈班走入歷史，更顯缺白。然值得一提的是，臺灣戰後亂彈藝術家潘玉嬌（1936–）、劉玉鶯（1936–2023）親族，均出自新港社東社道卡斯族，並自「東社班」開啟亂彈演藝生涯，其東社家族所輻射出的臺灣亂彈藝人及亂彈系譜，在臺灣亂彈發展史上舉足輕重，本文試圖從其人其事及相關活動記憶，勾勒昔日東社道卡斯族人投入亂彈戲曲的歷史經驗。

Artists performing Luantan, a traditional form of Taiwanese music and storytelling, often mention the Tang-siāTroupe. This name evokes memories among older generations of theater enthusiasts, who still recall the glory days of Luantan performances. However, extensive research on local historical records and operatic literature in Taiwan yield little information regarding the troupe, and various questions remain unanswered regarding who founded the troupe, when the troupe members began performing, and how they managed and cultivated new artists. While Taiwanese society continues to evolve over time, professional Luantan troupes have gradually become a forgotten history. Nevertheless, Yu-Chiao Pan (1936–) and Yu-Ying Liu (1936–2023), who were wellknown Luantan artists during the post-war period of Taiwan, share Taokas origins from Tang-siā, an indigenous community in Xingang, Miaoli, and both of them began their Luantan careers with the Tang-siāTroupe. Therefore, the troupe and its members played a crucial role in nurturing Luantan artists and made substantial contribution to the popularization of Luantan performances across Taiwan. This study explored memories associated with the members and events of the Tang-siāTroupe to outline the historical experiences of the Taokas people who dedicated themselves to promoting Luantan performances.