從小美園到雲華園(1922-2011):女伶視角下的客家戲班

Abstract

本研究藉由深度訪談、參與觀察以及文獻史料之分析，建構出「小美園」與「雲華園」兩代戲班女伶之生命史，並以此女性史視角，觀察客家戲班經營與女伶的戲班生活。 統整分析橫跨兩代的女伶故事，並以女性角度切入戲班研究後發現，大正年間客家改良戲的開始，完全是由男人主導創造，為了因應女班的潮流所需，掌控女性成了男性班主維持戲班經營的重要方法。而因為婚姻、收養或者是上一代的婚姻關係而踏上戲台的女伶們，卻也因為成為女伶，從此被限制了婚姻與人生選擇。 隨著社經環境變遷，內台戲蕭條的民國五、六十年代，原本就不多的男性也離開戲班轉行，但緊密鑲嵌在社會結構中的外台酬神戲，仍須有演員和戲班予以滿足需求。於是，在原本的社會結構中已同時扮演其他角色的女伶們，才得以在演出戲金日漸微薄的條件下，以「半專業」的兼差方式，參與外台戲班的演出工作。而這樣不定期出外演出的需求，卻也提供女伶們一個合理外出結群的理由。 隨著本土文化日益受到重視，客家戲的保存與發展在近年來也得到客委會與地方政府的支持，不少劇團亦開始積極投入政府單位所舉辦之比賽或徵選，在講求傳統與精緻並存的新展演條件下，躋身文化場公演行列，以增加演出機會並提升劇團知名度，是目前許多客家傳統劇團的發展目標。然而，這看似重返內台的機會，卻與這群老女伶的戲班無關，多由男性團主帶領的新型態戲班，其具備之能力與資源優勢，勢必在不久的將來取代高齡的外台戲班。 女伶受限的人生與婚姻，是傳統社會框架下的束縛與壓迫，多半選擇順服於傳統的她們，卻也藉著演戲的本事，找到了中年之後的人生舞台，她們以結群演戲的方式突破生活中的限制，獲得情感的抒發、寄託以及短暫的自由。但也為了保有這樣的結群自由，她們克盡己力、分工合作維持了戲班的運作。女伶們面對人生與婚姻限制時的抉擇與掙扎，是客家女性真實情感與真實樣貌的書寫，她們的故事不同於以往的典型，也豐富了客家女性的樣貌。

his study intended to construct the life histories of the two generations’ actresses of Hsiao Mei Yuan and Yun Hwa Yuan by conducting in-depth interviews, field observations, and literature analyses. From the angle of women’s history, the management of Hakka opera troupe and actresses’ life were observed. From its beginning, the first generation troupe was dominated by men and that, due to the increasing trend of actresses, it was important to control the women. Those who became actresses because of marriage, adoption, or their parents’ remarriages had only limited options in their own marriages and lives. During the 1960s and 1970s, with the changing socio-economical conditions, the needs of indoor theatrical plays were turning slim so that the male members—few already—began leaving their groups and changing their careers. Yet, the actress found their way and prolonged the age of Hakka opera. The outdoor temple plays that were tightly embedded in the culture and conventions still required to be carried out by the second generation troupe. Therefore, the actresses, who had played the other roles in their true life, started acting in the outdoor plays part-time or semi-professionally, although the pay they received was meager. Such a random need for them to perform provided a reason to leave home and gather temporarily. The future of these aged actress’ troupe is fading out just like their age. With local grassroots culture having received much attention recently, the preservation and development of Hakka opera has been strongly supported by the Hakka Affairs Council and local governments. A number of Hakka opera troupe began actively participating in government-held contests in an attempt to win opportunities to perform publicly in a tour, which requires maintaining conventions and instilling modern delicacy and helps promoting their troupe. However, this opportunity of returning to indoor act plays is not entitled to those aged actresses’ troupe, which will be replaced soon by newly formulated one that are led by men and have superior capabilities and resources. The life and marriage of these actresses are the result of confinement and oppression that come with framing their life in a socially traditional way. They mostly complied with conventions, but through performing they found their own stage after midlife. By gathering to perform, they broke out of the restrictions in life, found goals and emotional outlets, and earned brief moments of freedom. To maintain such freedom, they made efforts individually and collaborated to run their troupe. The struggles they had when confined to life and marriage are the theme of the writing about Hakka women’s real emotions and appearances. Their stories are unique, diversifying the profiles of Hakka women.