江之翠劇場《行過洛津》

Gang-a Tsui Theater - Passage to Lo-Jin

基本資料

《行過洛津》實驗戲劇結合南管，並改編自國家文藝獎得主施叔青「台灣三部曲」之首部小說。三度歷臺的「過客」－泉州七子戲班小旦許情，藉由敷演《陳三五娘》「長出」對性別與土地的安身感；梨園戲不能自主的傀儡形象、裹小腳、妝點容貌、藝旦吟唱幻化成支配、壓迫、規範、扭曲、物化的諸多想像。

清末洛津（今日的鹿港）商通繁華，大街長三里許，港口帆檣林立，貨物南來北往，熱鬧非凡，曲巷裡文人集聚，絲竹唱和，繁華一時。南管弦音裊裊就如同廟埕前的香火傳承，以《陳三五娘》中〈留傘〉一折為脊樑，對臺的《行過洛津》諸多角色們為血肉。

泉州七子戲班抵臺演出轟動閩南的民間故事《陳三五娘》，劇情講述泉州書生陳三愛慕潮州佳人黃五娘，喬裝成磨鏡匠，故意打破黃厝寶鏡，以身賠鏡，入府為奴三年，只為親近五娘，誰知掃廳捧水年餘，卻遲遲得不到五娘回應，陳三忿忿地拿起一把傘就要離去，此時五娘婢女益春，急切切地奔前要傘下留人！飾演益春的小旦月小桂（許情）以〈留傘〉一折驚豔四方，隨後被鹿港掌櫃烏秋相中，攬作孿童。同時間，許情又與後車巷稚年藝旦阿婠相識，讓他對自我身分認同產生疑惑，而後受道貌岸然的地方同知朱仕光擄獲，被迫與之同房。不能自主的戲子多年後重遇意中人，如意居傳出熟悉的南管樂音，妙音阿婠珠喉鶯轉、挾彈吹唱、如花含蕊、彩繡輝煌，許情自慚形穢，遲遲不敢相認。

小說與戲文相互映照，普天同慶大團圓與不可能的相戀悲劇，映照出大時代底層人物最卑微的一面。以劇場召喚出不為人知、僅存在口述、眼觀耳聞曲巷間，殘磚敗瓦曾立地而生的消逝生活。從以小搏大的歷史關懷，舖展出嘉慶咸豐年間的鹿港興衰。傳統戲曲與現代劇場交織，呈現、重複、呼應與拆解著戲裡戲外、台上台下的長嘆短吁，且讓獨具韻味的泉州聲調帶領，戲台下正正聽著的是百年前流轉的往時風華。

Combined with Nanguan, the experimental play Passage to Lo-Jin is adapted from the work of Shih Shu-Ching, the winner of National Awards of Art, whose first novel of Taiwan Trilogy. The story is about the life of Hsu Ching who visited Taiwan thrice. As a Liyuan Xi performer, he grows his own identity toward the gender and the land by performing as a female character in Tale of the Lychee Mirror (Tân San and Gō͘-niû). The dependent puppet figure of Nanguan opera, binding-foot, makeup look, and the singing of an actress all become the symbols of domination, oppression, regulation, distortion, and materialization.

In late Qin dynasty, Lo-Jin (Lugang nowadays), was a flourishing city, with a long boulevard stretching mile and mile. The harbor at that time was full of sail and boat, and cargos went as an endless stream. Hustle and bustle of the city were all over around. Literati gathered in meandering alleys, amusing themselves and making their moment. The melodious string sounds of Nanguan spread like inheriting belief. "Withholding the Umbrella" (Liu-San) of Tale of the Lychee and the Mirror as bone, and many corresponding characters of Passage to Lo-Jin as flesh, Nanguan theater summons the fading lives that keep being unknown and only exist in the experience hidden deeply in meandering alley.

The very beginning of the story is a company, Quanzhou Liyuan troupe, came to Taiwan and performed the folk story, Tale of the Lychee and the Mirror, which had stirred whole Minnan community. The storyline of the folk story is about a Quanzhou intellectual Chen San disguises himself as a mirror maker and breaks the cherish mirror of the Huang family, intending to approach the beauty of Ms. Huang (Wu Niang). Chen San promises to work as a slave in her family for three years as compensation, however, he receives no reply from the one he loves after two-year work. The upset love-seeker seizes an umbrella and decides to leave. At the moment, the maidservant, Yi-Chun, of Wu Niang rushed out and asked Chen San to stay!

In the other hand, the protagonist in the novel, Hsu Ching, is the actor who plays the female character Yi-Chun. His performance in the part "Withholding the Umbrella" brings him great reputation, and afterward also makes him become a catamite of a Lugang treasurer, Wu Chiu. At the same time, Hsu Ching acquaints and falls in love with a young actress Wan, who brings Hsu Ching the confusion of his own identity. Unable to be autonomous for years, the actor finally meets his lover; however, the crucial fate has changed him a lot. Hearkening to the beautiful and familiar Nanguan sound performed by Wan, Hsu Ching is ashamed to recognize his old acquaintance. Because after their last parting, he was raped by a seemingly-solemn local officer Zhu Shi-Guang.

The happy ending of the folk story and the tragic novel plot reflect each other, symbolizing the helplessness of humble people who breathe in a great era. Traditional xiqu and contemporary play are interwoven together and taken apart here. By the unique Quanzhou tone, the audience could take a glimpse of the rise and fall of Lugang which was one of the most prosperous cities at that time.

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