俗氣與俗趣：諧趣曲的編撰與探索

Vulgar or Humorous? –Studies on the Composition of Banter Songs in Yuequ

二十世紀二、三十年代，粵曲撰作從題材內容、音樂創腔等方面表現出鮮明的革新意識，其中諧趣曲的編撰尤具探索精神：一方面，諧趣曲以戲謔的筆法摹寫社會百態，婉曲表達了對普羅大眾深厚的理解與同情；另一方面，諧趣曲打破傳統的「梆黃」音樂格局，以節奏明快的說唱方式容納了更多方言俗語與曲藝，呈現出鮮明的地方特色；同時，其新穎別致的唱腔設計又引導著聽眾在無線播音和留聲機的跨時空演唱中通過辨析「聲音」的差異來欣賞曲唱，這種培養聽眾聽曲習慣的嘗試是極有見地的，它體現出新媒介時代撰曲家對大眾娛樂趣味的尊重和積極把握。諧趣曲在對「俗趣」的追求中難免陷入媚俗的鄙陋，但其積極的嘗試和探索客觀上豐富了近代粵曲審美風格的內涵，是值得當代戲曲曲藝編創借鑒的個案。

In Yuequ writing of the 1920s to the 1930s, a spirit of innovation emerged in topics and musical styles, especially in the explorations that we can find in banter song compilations. On the one hand, banter songs teasingly portrayed various aspects of the society, with sympathy and understanding underneath the sarcasm about ordinary lives. On the other hand, it broke away from traditional themes of “Bang Huang” music by absorbing southern folklore and adding more indigenous dialects. The newly evolved, distinctive vocal styles attracted audiences beyond visual contact in the era of radio and phonographs, giving enjoyment only audible through familiar music and distinctive rhythm. Beyond limits of time and distance, the new media platform connected the audiences with Banter Song artists, who masterfully led the trends with respect and appreciation of their emerging social popularity. Inevitably, some degree of improper obscenity found its way into the reformed banter songs, which were sometimes slightly vulgar or tawdry. Nevertheless, the exploratory efforts and practice brought fresh blood into the aesthetic values of Yuequ and set an example for enriching and exploring modern day theatrical performing arts.