論導演使用音樂劇中之歌隊— 以果陀劇場黃梅調音樂劇《梁祝》為例

Abstract

「歌隊(chorus)」一詞最早出現在古希臘戲劇。戲劇是由儀典轉變而來， 最早歌隊之形式只有單純的載歌載舞，希臘戲劇家為了增加角色與角色之間的衝 突，因而加入越來越多的演員角色，讓「歌隊(chorus)」在劇本中的功能越來越 模糊。隨著時間流逝，戲劇的種類變得越來越豐富，美國百老匯因為受到黑人巡迴 秀的影響，開始出現歌舞雜燴的歌舞秀，成為日後百老匯音樂劇的重要基礎。 西元二十世紀後，紐約百老匯的音樂劇日漸成熟，「歌隊(chorus)」也被大量 使用在音樂劇當中。它們的功能從單純的載歌載舞，演變成與劇本息息相關的群眾 演員，人們也將注重合唱功能的「歌隊(chorus)」一詞，改稱為除了合唱之外， 與戲劇也有密切關聯的「歌隊(ensemble)」。「歌隊(ensemble)」的使用，在現 今的音樂劇中為非常重要的環節之一，歌隊(ensemble)不僅僅是個合唱隊，它們 往往伴隨著更多的戲劇上的功能，有時擔任評論者、有時擔任􏰁事者，幫助觀眾能 夠更清晰編劇或導演在段落劇情上想要傳達的想法。 相較古希臘戲劇，中國傳統戲曲一直貫徹著「合歌舞以演故事」的形式，發展 至今也有三百六十幾種不同的形式。《梁山伯與祝英台》為中國知名的傳說故事， 其故事題材被眾多表演藝術形式搬演，而果陀劇場改編黃梅調電影《梁山伯與祝英 台》，將其轉化到舞台上，並融入西方音樂劇中歌隊的使用，將原本在大銀幕中的 I 故事立體化，使得經典得以重現。 本研究將以果陀劇場《梁祝》作為主要研究對象，透過內容分析法及文獻分析 法，整理及歸納音樂劇中歌隊的功能與使用方法，並從《梁祝》的文本段落中找到 適合使用歌隊之時機，加入研究生對於歌隊的導演詮釋，探討歌隊在《梁祝》中的 各種可能性。The word “Chorus” first appeared in Ancient Greek drama. Drama was transformed from the ritual. The earliest form of the chorus simply consisted of singing and dancing. Greek dramatists had added more and more characters in order to increase the conflict between them, making the function of the “Chorus” in the script more and more indistinctive. As time went by, categories of drama were getting enriched. The American Broadway, influenced by the Minstrel Show, started to make complex singing and dancing shows and became the important basis of the later Broadway musicals. After 20 A.D., Broadway musicals in New York were gradually getting matured, and the “Chorus” was greatly used in them. Its function had transformed from simple singing and dancing into script-relating figurants. People got much attention on this functional “Chorus”, and they renamed it as “Ensemble”, which had a closer relationship to the play. The use of “Ensemble” become very important in modern musicals. It not only represents as a chorus, but it also accompanies more dramatic functions: sometimes as a reviewer, sometimes as a narrator. It helps the audience understand more clearly about the meaning and thoughts which the play writer or the director wants to convey in the scenes and the whole script. III Comparing to Ancient Greek drama, Traditional Chinese theatrical opera has been carrying out the form of “Mixing dancing and singing to perform the story”. It has developed into nearly three hundred and sixty kinds of forms so far. The story of Liang Shanbo and Zhu Yingtai is a famous Chinese legendary story. It has been performed in numerous forms of performance art. The Godot Theatre Company re-arranged and re- interpreted the original huangmei opera movie and turned it into the stage performance. It blended with the use of the chorus in western musicals, making the original story on the big screen stereophonic and as a result re-introducing the classic. The research uses the play “Liang Zhu” of the Godot Theatre Company as the main research object. With the ways of content analysis and document analysis, it arranges and summarizes the function and the use of the “Chorus” in musicals. It also figures out the right timing of the chorus using in the script of “Liang Zhu”, adding the researcher’s own directing interpretation of “Chorus” and discussing about every possibility of the chorus in “Liang Zhu”.