雅音小集《白蛇與許仙》報紙戲曲評論現象初探

A Case Study on the Commentary of Traditional Opera on Newspapers: The White Snake and Hsü Hsien of the Ya-yin Ensemble

雅音小集在臺灣京劇的發展與轉型上，有其重要位置，論者辨之甚明；而「雅音小集」首度結合西方現代劇場技術與設計概念，呈現「非傳統」的視聽演出效果，則是其時評論及討論重點之一。早在雅音小集成立的前一年（1978），就有劇評者針對郭小莊在紀念俞大綱逝世週年演出的「亮相」發表看法，此當可視為京劇觀眾對於「非傳統」視覺效果的典型反應。1979 年，雅音小集成立，初試啼聲之作──《白蛇與許仙》──除了以創新、改革、吸引年輕觀眾之姿引發討論外，其完整地呈現舞臺、燈光的設計意念與執行成果，更在演出後廣獲熱烈迴響；縱觀各方反應，儼然「一場演出，各自述評」。雅音的燈光設計與演出基調、劇情進行、當下時空等相互呼應，既是一種氛圍的營造，更是劇場美學的轉換，這當中的關鍵人物是聶光炎。另外，丁秉鐩的劇評則就戲論戲，既述京劇發展及創新之脈絡，亦比較其他相關版本，並深入分析評論兩天之演出。從此之後，凡是與戲有關者，例如：劇場設計、觀眾向背，乃至文化思潮、對生命的省思等，皆可入評。論者或可作如是觀：雅音小集不僅標誌京劇在臺灣的發展與轉型，同時《白蛇與許仙》也標誌著臺灣新編戲曲劇場設計美學的轉變，以及戲曲演出述評的轉型。

The Ya-yin Ensemble played an important role in the development of Peking Opera in Taiwan. Ya-yin combined traditional performance and modern theatre design and technique to lead a new direction in the end of 1970's. The White Snake and Hsü Hsien， as Ya-yin's first work， caused many kinds of commentary as well as attracted new generation of audience to come across the Peking Opera. We could see the idea of modern stage design and modern lighting design were completely put into practice in The White Snake and Hsü Hsien. Then a new perspective and aesthetics appeared. From then on， the theatre design became a must in every new production of traditional opera. The commentary referred to various aspects then before. We could say that Ya-yin led Peking Opera to a new development in Taiwan and The White Snake and Hsü Hsien started a new theatrical design aesthetics and new commentary of traditional opera.