析論新加坡「新麒麟閩劇團」《醉打金枝》戲曲電影

The Analysis of Neo-Qilin Min Opera Troupe's Drama Cinema: “Breaking the Red Lantern”

一九三○年代臺灣歌仔戲班陸續受邀到新馬等地演出，培養了大批戲迷觀眾，也間接催化在地劇團的轉型與歌仔戲班的成立。一九三七年新加坡第一個歌仔戲團「玉麒麟閩劇團」成立，一九五○年代易名為「新麒麟閩劇團」由歌仔戲名伶「錦上花」執掌，在三大遊藝場駐演與演出街戲外，也參與電影、電視及唱片等「媒體歌仔戲」的演出。一九五七年受邀拍攝戲曲電影《醉打金枝》，此為「新加坡港聯有限公司在當地拍攝影史以來首部閩劇舞台藝術紀錄電影」，也是新加坡僅有的戲曲電影，相當具有代表性與歷史意義。本文結合史料的耙梳整理、影像的分析比對以及藝人口述訪談，梳理當時新加坡電影產業的情況，檢視當時中國戲曲電影「跨國流播」在星洲上映所引發的劇壇效應，以推論《醉打金枝》戲曲電影的製播因由與選擇考量，鉤沈《醉打金枝》電影的參與成員、上映情況及文本取材等資料，論析《醉打金枝》的情節佈局、腳色設置與劇藝特色等，以為新加坡電影史留存紀錄珍貴史料，補白新加坡歌仔戲的歷史縫隙，並由此管窺戲曲藝術和電影交錯迴旋的跨界結盟現象。 In 1930, Taiwanese opera troupes were continually invited to give performances in Singapore and Malaysia and accumulated massive audiences of fans. This indirectly catalyzed transformation of local opera troupes and the establishment of Taiwanese opera troupes. In 1937, “Jade-Qilin,” the first Min opera troupe in Singapore, was founded. In 1950, the troupe was renamed “Neo-Qilin Min Opera Troupe,” run by a renowned Min Opera artist, “Jinshanghua.” The troupe not only was stationed in three entertainment centers but also played street films. Moreover, it engaged in cinemas, TV programs, and records in the form of “Media-Min Opera.” In 1957, the troupe was invited to shoot the drama cinema, “Breaking the Red Lantern,” which was the first documentary film of Min Opera's stage art in the history of local film making. The movie was shot by Singapore and Hong Kong United CO., LTD. and was the exclusive drama cinema in Singapore, with quite representative and historic meaning. This study, on the one hand, adopts several methods, including sorting out historical data, contrast analysis of images and photos, and oral histories of the performers; while on the other hand, explores the development of cinematic industry in Singapore. By examining Singapore's dramatic effects caused by Chinese drama cinemas, which were played in Singapore at that time, we can infer the cost of shooting “Breaking the Red Lantern,” sorting out the participants, box office and adapted contextual materials, and further analyze the film's plot, characters and artistic features, for the sake of preserving the valuable historical data of Singapore's cinematic history and filling the gaps in the history of Singapore's Min Opera. At last, we can catch a glance of the phenomenon of intertwined synthesis of drama and cinema.