論車鼓戲之名義、發展、淵源與衍化

On the Names, Development, Origin, and Improvement of the Flipping-Plucking Opera

臺灣車鼓戲於明末清初時隨閩南移民傳入，因而兼備漳、泉二派車鼓和梨園戲的特點。本文從文獻史料引證，以及田野調查採集，試圖釐清學術上懸而未解的車鼓相關問題。首先就兩岸近代的車鼓戲發展作一梳理，以釐清本文所討論的車鼓戲之定義，從兩岸車鼓戲的比對中，可得知臺灣車鼓戲的歷史意義與文化價值。其次就民間與學術上關於車鼓戲之諸多稱謂加以釋名，包括「車鼓」、「車鼓弄」、「弄車鼓」、「車鼓陣」這幾個名詞，分別所指的內涵為何，需再加以釐清。再者，對於歷來眾說紛紜之車鼓戲源流進行考證，從車鼓之稱謂、音樂、表演型態、演出曲目、戲曲發展徑路來探討其源流與形成。最後就臺灣車鼓戲之系統進行討論，包括車鼓戲之曲目類型以及與車鼓戲密切相關的藝陣，進而探究民間陣頭從車鼓衍化的現象。

The flipping-plucking opera was introduced to Taiwan by immigrants from southern Fujian in late Ming and early Qing dynasties, so it has the characteristics of Zhangzhou and Quanzhou’s flipping-plucking and the Liyuan opera. This article attempts to clarify the unresolved issues in the academic world relating to the flipping-plucking by citing literary and historical materials, and information gathered through field research. First, it sorts out the development of the flipping-plucking opera in modern Taiwan and China to clear up questions of definition. The comparison between the flipping-plucking opera of Taiwan and China reveals the historical significance and cultural value of that in Taiwan. Second, it explains the many names of the flipping-plucking opera in folk culture and the academic world, including “flipping-plucking,” “flipping-plucking performance,” “performing flipping-plucking,” and “flipping-plucking parade,” whose meanings need to be further clarified. Third, it examines the historically doubtful origin of the flipping-plucking opera and investigates its origin and formation from the perspective of the flipping-plucking’s names, music pieces, performance style, performance repertoire, and development path. Finally, it discusses the context of the flipping-plucking opera in Taiwan and explores the phenomenon that the folk parade troupes derived from the flipping-plucking opera. The discussion involves the types of the flipping-plucking opera’s music pieces and the parade performance, which is closely related to the flipping-plucking.