地方道法儀式音聲行為和風格研究：以道教正一派朱堃燦道長演行《太極靈寶祭煉科儀》為討論

Sound and Style of Local Daoist Rituals: Zhengyi Daoist Master Ju Kun-Tsan’s Performance of Taiji Lingbao Jilian Keyi

傳統的道壇生態和科儀演法，一直以來講究的是傳承和如法，即以「師父說什麼，我們做什麼，肯定不會錯」的態度執行。經世代的更替，大環境的改變，常民對法事的需求和類別也跟著轉動，同樣地，當資訊的流通和取得容易、快速且方便，對傳統道壇亦造成影響和刺激。蘆洲顯妙壇朱堃燦道長長期投入道法儀式的演法和探索，從自身傳承的正一派出發，思考法事內容和安排，認為臺灣北部正一道壇五朝醮事第三天和第五天的普度科儀的安排，有其時代的環境因素所形成，今嘗試擇以清代婁近垣增訂《太極靈寶祭煉科儀》替代第三天原有的普度法事。本文擬從儀式演行的音聲行為、風格，呈現和說明一個世代的地方道士，如何從其自身脈絡理解、使用、操作和演行「新」法本，如何將儀式地方化的過程，如何恢復曾經可能有過的舊傳統，或現在正在建構的新傳統。

Traditional Daoism and its rituals emphasize the importance of inheri¬tance and dharma. As the flow of information becomes more rapid with ad¬vances in technology, the rituals practiced by ordinary people have changed; this has affected traditional Daoist altars in particular. This study explored Daoist Master Ju Kun-Tsan of the Luzhou Xian-Miao Altar and how a gener¬ation of Daoist priests understands, uses, and performs the new Dharma, Lou Jin-yuan’s edition of Taiji Lingbao Jilian Keyi from the Qing Dynasty, in their own context. This study explored how they localized the ritual and how they revitalized old traditions and developed new ones.