草根神聖，「鈔」越日常：北管出陣遶境的身體行動方法研究（以小鈔為例）

Within the Divine Grassroots Culture, Transforming the Daily Life: Research on the Method of Physical Actions of Taiwanpak-kuán Parade (Taking Playing tshau -á as an Example)

北管是臺灣民間流傳最普遍的劇種與樂種，其名「北管」，乃是為與更早傳入的泉州閩南語系「南管」音樂相對，北管之出陣遶境與民間信仰及廟會文化密不可分。創立於1917年的淡水南北軒，是如今淡水地區較為活躍的子弟軒社之一，其出陣活動常與廟會相聯繫，譬如農曆3月的媽祖聖誕、農曆5月的淡水大拜拜等，每逢神明遶境，南北軒都會請出七爺八爺神將在音樂的伴奏下一同出陣。目前常見的北管出陣樂器主要由小鼓（單皮鼓）、扁鼓、通鼓、大鑼、嗩吶、響盞、大鈔與小鈔等所組成。出陣時，大鑼一般位於陣首，小鈔與大鈔緊隨其後，承擔指揮功能的小鼓在陣頭的中間，後面則跟著嗩吶。小鈔是北管出陣的常用樂器，因其操作方法簡單，即演奏者根據「頭手」的指揮，依照小鼓的鑼鼓點，以打直拍為主。這樣的特性也使「打鈔」得以成為北管樂器演奏中最典型的「程式」方法，而同樣的方法亦適用於北管音樂的其他樂器。筆者由此發現，北管出陣遶境是當代臺灣在地的一種「身體行動方法」（Method of Physical Actions, MPA）。MPA源自於康斯坦汀．史坦尼斯拉夫斯基（Konstantin Sergeyevich Stanislavski）晚年改寫的「體系」，薪傳於耶日．葛羅托斯基（Jerzy Grotowski）發展的「出神的技術」。MPA是一套演員訓練方法，它從演員的身體出發，透過能量的垂直升降，使得劇場中的演員與觀眾都能同時進入當下的中介狀態。廣義上來講，任何與身體有關的一套行動模式都有可能產生覺性，關鍵在於如何去做。本文以筆者在淡水南北軒的出陣遶境經驗為研究對象，採用自我民族誌的方法，在MPA理論視角下，闡釋北管遶境打鈔何以成為身體行動方法，並從北管的儀式性出發，探討北管出陣的轉換功能及其運作原理。

 

Pak-kuán is the most common type of opera and music in Taiwan, and is named “Pak-kuán” because it is the counterpart of the “Nanguang” music of the Minnan language family in Quanzhou, which was introduced earlier. The Pak-kuán parade is inseparable from folk beliefs and temple culture. Founded in 1917, the Tamsui south-north Pak-kuán community is one of the most active Pak-kuán community in the Tamsui area today. The activities of the Tamsui south-north Pak-kuán community are often associated with temple fairs. For example, during the Má-tsóo’s birthday in March and the Tamsui Tsóo-su’s birthday in May, the Tamsui south-north Pak-kuán community will invite the General Hsieh and General Fan to participate in the parade. At present, the common musical instruments used in the performance are small drums (single-skin drums), flat drums, gongs, small gongs, suona, tshau -á, etc. The big gong is usually at the head of the procession, followed by the tshau -á, and the small drum, which assumes the command function, is in the middle of the procession, followed by suona. The tshau -á is a common instrument in the Pak-kuán processions, because of its simple operation method, the player canbeat straightly according to the small drum’s under the direction of the conductor. Such a characteristic also makes “playing tshau -á” the most typical “program” method in the performance of the Pak-kuán instrument. The same method is also applied to other instruments of the Pak-kuán. Thus, the author found that the Pak-kuán parade is the local “the method of physical actions” (MPA) in contemporary Taiwan. MPA originates from the systemadapted by Stanislavsky in his later years, and is based on the “technique of trance” developed by Grotowski. It starts from the actor’s body, through the vertical elevation of energy, so that both the actor and the audience in the theater can enter the present state of the moment. In a broad sense, any body-related mode of action has the potential to generate awareness, and the key is how to do it. This paper uses the author’s experience in the Tamsui south-north Pak-kuán community as a research object, and intends to adopt an auto-ethnographic approach to explain why the Pak-kuán parade is a method of physical actions under the perspective of MPA theory, and to explore the transformation function of the Pak-kuán parade and its operation principle from the ritual of the Pak-kuán parade.