1960年代臺灣歌仔戲在星洲錄製「笑科劇」唱片探析 = A study on records of Xiaokeju of Taiwanese opera that maded in Singapore in the 1960s

다국어 초록 (Multilingual Abstract)

Taiwanese opera, which centers on the Minnan dialect and Gezai recitations, has a network of relationships that includes family ties, geographical connections, professional connections, and religious beliefs. It serves functions such as connecting people to their hometowns, religious rituals, and leisure activities. In the 1930s, Taiwanese opera spread to overseas Chinese communities in Southeast Asia as a result of migration. After the end of the Pacific War, the international situation gradually stabilized, and economies around the world began to recover. In order to strengthen national unity, promote friendly relations with neighboring countries, console overseas Chinese, and develop market economies, Taiwanese opera was "restarted" as a performance route in Southeast Asia. In the 1960s, five Taiwanese opera troupes were invited to perform in Singapore and Malaysia, and were also invited by local record companies to record albums for sale. These albums, which were not sold in Taiwan, recorded the performances and members of the troupes, and preserved the performance texts of Taiwanese opera, including the storyline, recitations, music, and instrumentation. They became a historical record of the exchange and cultural artifacts of Taiwanese opera "lost" overseas. This article selects three sets of unique albums that revolve around "jokes," with humor, satire, and vulgarity as their main themes: San Xian Jia Shen Shi of Xin Tai Guang Opera Troupe, Jiaoxing Qian Yuan Wang Le and Bai Zei Qi Qi Qian Li Ma as well as their respective albums of Xiaokeju of Bo Hua Opera Troupe. The songs are based on the Taiwanese opera booklets and folk stories, using humorous and witty dialogue, poking fun at human greed and the state of society, vividly embodying the poetic expressions of everyday life in Taiwanese opera. The albums inherit the folk drama tradition of Zuohuoxi in Taiwanese opera, presenting the unique characteristics of "live singing and playing". They retain the actors' improvisational skills in writing and rhyming and in singing and reciting spontaneously, showcasing the musical skills of the orchestra in both Chinese and Western instruments and in playing and singing. They also fully reveal the style of Taiwanese opera music that incorporates Chinese and Western music into simultaneous ensemble playing.

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