題名:陣頭、文物與展演--論蘭陽地區北管陣頭文物的展演及其文化意涵
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- 資料類型：
- 來源資料庫:學位論文
- 著作者：
- 創作者名稱:林君玲
- 主題與關鍵字：
- 主要分類:器物傳說
- 中文關鍵詞:宜蘭縣
- 中文關鍵詞:民間傳說
- 中文關鍵詞:蘭陽地區
- 中文關鍵詞:北管陣頭
- 中文關鍵詞:文物
- 中文關鍵詞:展演
- 外文關鍵詞:Yilan County
- 外文關鍵詞:Lan-yang area
- 外文關鍵詞:bei-guan procession
- 外文關鍵詞:artefacts
- 外文關鍵詞:performance
- 外文關鍵詞:cultural meanings
- 描述：
- 頁碼:194
- 中文摘要:蘭陽地區的北管發展至今已一百八十餘年，史料記載蘭陽地區的北管從清道光年間開始萌芽，歷經日本時代的蓬勃發展、皇民化的「禁鼓樂」時期、光復初期的再興，爾後全盛，到了民國六、七○年代因台灣經濟發展迅速，工商業趨向繁榮，使得原本與農村社會相互依存的北管在社會的變遷中開始逐漸凋零衰落。 在北管子弟團的活動中，出陣的表演型態往往最具社團色彩；隨著北管發展極致，陣頭中的行頭道具如各式繡旗、木雕彩牌、燈托、鼓亭、大鑼槓、鼓架、春榭等紛紛成為子弟團遊街展示的物件。除了具備娛樂性質外，這些陣頭文物的展演也意味著宣示社團的實力，這當中更隱含著過去蘭陽地區北管子弟分類械鬥的 變相轉型。北管陣頭文物存在的實質性目的主要為北管子弟團出陣展演所用，相對地，子弟團出陣展演之外顯意義與內在意涵即支配著文物物質形貌的構成。本論文嘗試以蘭陽地區的北管陣頭文物作為研究的起點，試圖從中尋找文物展演的軌跡，以「文物的展演是持續不斷地在進行著：這樣的視點來觀覽蘭陽地區的北管文化與詮釋北管陣頭文物的展演，是為本論文的研究核心與宗旨，這當中亦包含了強調作為物的主體性價值。本文在知識論上採取人類學對物質文化的研究觀點與途徑，透過文獻資料蒐集、田野調查、歷史學的史料解讀與文獻考證方式，對所蒐集的資料進行判讀、分析與解釋，具體歸納出北管陣頭文物的類別與展演形式、建構文物展演的情境脈絡、形塑文物所屬的社會體系網絡、詮釋文物展演事實與體現文物展演價值， 並論及文物為因應時代流變所發展出的新型態展演形式與展演詮釋。
- 英文摘要:The bei-guan culture in the Lan-yang area has been developing for one hundred and eighty years．According to the historical documents, bei-guan spouted in the year of Dao-guang, Cing Dynasty, through the time of Japanese reign and its Japanization over Taiwan it began to progress and was banned for a time by the Colony Government. After the Retrocession of Taiwan, bei-guan was revived and brought to the apex of its development. However, with the economical prosperity in the "70''s" and "80''s"，it began to decline and decay due to the structural shifts from the peasant society to the modernization of Taiwan. Bustling procession activities may be the most notable feature of the bei-guan clubs. At the peak of bei-guan development,props such as"embroidered flag","wood-carved banner","paper lantern holder", " drum booth", "gong carrier", "drum stand" and "spring pavilion" gradually became the most significant artefacts for public exhibitions during the procession. In addition to its recreational function to the audiences and demonstrative purposes for bei-guan clubs themselves, these artefacts had also witnessed and carried the factional-transformational conflicts among bei-guan clubs in the Lan-yang area.The substantial purpose of bei-guan artifacts lies in performance; relatively, the connotative and denotative meanings of the bei-guan performance configure the material structures of bei-guan artefacts. This paper considers the artefacts of bei-guan clubs in the Lan-yang area as its point of departure for research. Given the hypothesis-that "the artefacts will live on", the interpretation toward artefact performance is the main purpose of this paper and the subjectivity of the artefacts will also be stressed.Besides, this paper adopts the concept of material culture as its approach: through the basic bibliographical and field study, then the subsequent textual research and interpretation methods from historiography, it is possible to trace back the history of bei-guan performances concerning these artefacts and thus able to analyze, explain,and integrate the materials of bei-一guan artefacts, inducing their genres and performing forms. Furthermore, with this primary knowledge, it is expected to unearth the historical context in which these artefacts were performed, explore their relationship to the social network, realize their performance as a fact and interpret their cultural values．Finally, this paper refers to the new form and the interpretation toward the artefact performance in response of the time change.
- 出版者：
- 主要出版者:臺北藝術大學傳統藝術研究所工藝美術組
- 出版地:臺北市
- 日期：
- 出版日期:2005
- 語言：
- 語文:中文
- 管理權：
- 典藏單位:國家圖書館
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