臺中市萬和宮字姓戲的發展與現況析探

Analysis of the Development and Current Status of the“Zi Xing Opera”at Wanhe Temple in Taichung City

臺中南屯萬和宮建於雍正四年（1726），至今已有近三百年歷史，被列為國定三級古蹟。其中自道光五年（1825）開始演出「字姓戲」，迄今亦有二百年之久，於2011年11月登錄為臺中市民俗類文化資產。字姓戲的發起與民俗活動及地方組織有密切關係，最初由捐地募資興建萬和宮的張、廖、簡、江、劉、黃、何、賴、楊、戴、陳及林等12姓氏，依序演戲酬神，每年從農曆3月21日起開演字姓戲，先由四府演漳州戲、廣東戲、泉州戲、汀州戲熱身，26日之後字姓戲正式登場，由張姓開始，持續兩個月，歷代不斷，成為地方重要傳統民俗活動。由於南屯信眾增加，其他姓氏組織加入，目前已增至28字姓，演出時間亦長達三個月。然而，隨著時代環境演變，除了姓氏的擴大加入之外，近三十年來亦因宮廟制度的轉變，以及民生經濟的發展，對請戲演出方式帶來重大變革，此於廟埕演戲的傳統文化亦產生不同層面的影響。本文除從文獻探索萬和宮字姓戲的歷史發展脈絡之外，將透過現場記錄觀察、資料比對及人物訪談等方式，挖掘現代社會「字姓戲」展現型態的轉變因素，劇團對演出劇目內容的安排規則，以及探討字姓組織和現代觀眾對民俗演戲的觀賞態度。

Wanhe Temple, located in Nantun District, Taichung, was built in the fourth year of the Yongzheng reign (1726). With a history of nearly 300 years, it is listed as a national third-level historic site. One of its most significant traditions, the“Zi Xing Opera,”has been performed since the fifth year of the Daoguang reign (1825), making it a cultural practice with a 200-year legacy. it was officially registered as an item of Taichung City's folk cultural heritage.
The origin of the“Zi Xing Opera”is closely related to folk activities and local organizations. Initially, the 12 clans of Zhang, Liao, Jian, Jiang, Liu, Huang, He, Lai, Yang, Dai, Chen, and Lin donated funds to build Wanhe Temple. After the construction was completed, these clans also hired performing groups to perform traditional drama in order to honor the deities. Every year, the“Zi Xing Opera”begins on the 21st day of the third lunar month. First, the four prefectures perform Zhangzhou Opera, Guangdong Opera, Quanzhou Opera, and Tingzhou Opera as an introduction.. After the 26th of the third month, the Zi Xing Opera officially debuts. Originally led by the Zhang clan and lasting two months, and continued throughout the generations, becoming an important local traditional folk activity. Due to the increase in the number of believers in the Nantun area, other clan organizations also joined in later. Today, 28 clans participate, and the performance period has extended to three months.
In addition to exploring the historical development of Wanhe Temple’s“Zi Xing Opera”from related text materials, this article investigates its modern-day transformation through on-site observation, comparative data analysis, and fieldwork interviews. It examines the organization of clan associations, the structure of the opera repertoire, and contemporary audience responses to this form of folk performance.