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）
Authors: 洪唯薇 洪唯薇 
Published: November 2022

<p>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。</p>
<p>&nbsp;</p><p>Pak-ku&aacute;n is the most common type of opera and music in Taiwan, and is named &ldquo;Pak-ku&aacute;n&rdquo; because it is the counterpart of the &ldquo;Nanguang&rdquo; music of the Minnan language family in Quanzhou, which was introduced earlier. The Pak-ku&aacute;n parade is inseparable from folk beliefs and temple culture. Founded in 1917, the Tamsui south-north Pak-ku&aacute;n community is one of the most active Pak-ku&aacute;n community in the Tamsui area today. The activities of the Tamsui south-north Pak-ku&aacute;n community are often associated with temple fairs. For example, during the M&aacute;-ts&oacute;o&rsquo;s birthday in March and the Tamsui Ts&oacute;o-su&rsquo;s birthday in May, the Tamsui south-north Pak-ku&aacute;n 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 -&aacute;, etc. The big gong is usually at the head of the procession, followed by the tshau -&aacute;, and the small drum, which assumes the command function, is in the middle of the procession, followed by suona. The tshau -&aacute; is a common instrument in the Pak-ku&aacute;n 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 &ldquo;playing tshau -&aacute;&rdquo; the most typical &ldquo;program&rdquo; method in the performance of the Pak-ku&aacute;n instrument. The same method is also applied to other instruments of the Pak-ku&aacute;n. Thus, the author found that the Pak-ku&aacute;n parade is the local &ldquo;the method of physical actions&rdquo; (MPA) in contemporary Taiwan. MPA originates from the systemadapted by Stanislavsky in his later years, and is based on the &ldquo;technique of trance&rdquo; developed by Grotowski. It starts from the actor&rsquo;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&rsquo;s experience in the Tamsui south-north Pak-ku&aacute;n community as a research object, and intends to adopt an auto-ethnographic approach to explain why the Pak-ku&aacute;n parade is a method of physical actions under the perspective of MPA theory, and to explore the transformation function of the Pak-ku&aacute;n parade and its operation principle from the ritual of the Pak-ku&aacute;n parade.</p>
<p>&nbsp;</p>