宜蘭礁溪協天廟「武佾舞」之研究

圖書

學位論文
民俗傳說

武佾舞是台灣祭祀武聖－關帝之祭儀舞蹈，現今於台灣僅三處有武佾舞，宜蘭礁溪協天廟武佾舞之名由徐桂台考究擬定之，是台灣少數以「武官」為主之祭儀舞蹈。本論文主要目的是要追溯武佾舞之歷史源流，並探究現今礁溪協天廟武佾舞的起源、變遷與動作變化之意涵，本文將利用文獻收集、田野調查、訪談交叉驗證後，加以分析、整理、比較、歸納與詮釋，並應用拉邦舞譜紀錄之。 武佾舞於中國舞蹈史上，自周公制禮作樂以來，以「大武舞」為祭祀武官之禮儀，因此，武佾舞之起源可推溯至周朝。漢代後雅樂舞用於郊廟祭天、地、神，而關帝地位於宋朝大大被提升，並被歸為廟中以饗祭祀，祭祀儀式自然承襲舊制。 宜蘭礁溪協天廟武佾舞源流主要可分為三階段，第一階段為引進階段，民國四十八年到五十五年，此階段主要延用宜蘭碧霞宮之祭儀，引進三獻禮與武佾舞。第二階段為變革階段，民國五十五年後至五十八年間，主要由徐桂台、徐秀英等人與廟方相關人員共同創建，並依據宜蘭碧霞宮、孔廟祭典、大陸福州武廟及相關歷史文獻四處為參考，創立屬於協天廟之武佾舞。第三為沿襲階段，此階段為民國五十八至今，主要承襲前之武佾舞祭典儀式。 利用拉邦舞譜系統分析礁溪協天廟武佾舞之動作型態以筆直、方正為主，於空間的運用上主要是多面向動作組合而成，其高低層次分明，整體動作呈現抑揚頓挫之特質，武佾舞之傳習有益於教化武聖之忠誠義勇精神，深具時代教育意義。
Wu-Yi-Wu is a memorial ceremony dance for GUAN DI in Taiwan. Nowadays, there are only three places holding Wu-Yi-Wu. In E Land, the Wu-Yi-Wu of Jiaushi Xie-Tian temple was named by Hsu Gui-Tai who did research of this special dance. This is one of the very few dances, which is especially for a military official, in Taiwan. The main object of this thesis was to trace the history of Wu-Yi-Wu and investigate the sources, the changes, the movement variations and the meanings of Jiaushi Xie-Tian temple Wu-Yi-Wu. After records collecting, researching, interviewing and cross proving, the Wu-Yi-Wu was analyzed, compared, concluded and composed by using Labanotation. Traced the Wu-Yi-Wu history in the history of Chinese dance, Da-Wu-Wu was used for the memorial ceremony of military official since the structures of ceremony had been made by Zhou-Gong in the dynasty of ZHOU. Hence the history of Wu-Yi-Wu could be traced back to the dynasty of ZHOU. People used Ya-Yue-Wu for many important memorial ceremonies since the dynasty of HAN, and the believing position of Guan Di had been raised very much and Guan Di had been consecrated in the temples. Therefore the structure of memorial ceremony came from the original structure. The source of Jiaushi Xie-Tian temple Wu-Yi-Wu could be broken down to three steps. The first step was “introduction”, from 1959 to 1966, mainly followed the memorial ceremony structure of E-Land Bi-Xia temple. The San-Xian-Li and Wu-Yi-Wu were introduced during the time. The second step was “variation”, from late 1966 to 1969. The variations of Wu-Yi-Wu was done by Hsu Gui-Tai, Hsu Xiu-Ying and other relative temple members referred to the memorial ceremonies of E-Land Bi-Xia temple, Confucion temple, Fu Zhou military temple and related history documents. They created Wu-Yi-Wu just for the Xie-Tian temple. The third step was “following”, the years after 1969, mostly followed the previous Wu-Yi-Wu. Labanotation has been used for the movements’ analysis of Jiaushi Xie-Tian temple Wu-Yi-Wu. The most frequently movements of Wu-Yi-Wu were upright and foursquare and its use in the space combined multiple faces movements, the level differences were shown very clearly. The learning of Wu-Yi-Wu and passing on to the next generation had the benefits of keeping the spirit of Guan Di and very deeply educational meaning for the people.

臺北市
中國文化大學舞蹈研究所

2004

220

中文

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