研究生(外文):GAO WANG, YING-HUA 論文名稱:論京劇二路老生的表演藝術： 以《定軍山》、《搜孤救孤》為例 論文名稱(外文):Research on the Performing Arts of Erlu Lao-sheng（二路老生）in Beijing Opera: Especially in “Dingiyunshan”（《定軍山》）and “Sougujiougu”（《搜孤救孤》） 指導教授:徐之卉 指導教授(外文):HSU, CHIH-HUI 學位類別:碩士 校院名稱:國立臺灣藝術大學 系所名稱:戲劇學系 論文出版年:2024 語文別:中文 論文頁數:118 論文摘要
研究生出身於空軍大鵬劇校9期生，自小專攻文武老生，在校期間多以武戲為主要學習劇目。畢業後進入大鵬國劇隊，慢慢地把老生該唱的戲大多都唱過了，例如：「三斬」（《斬黃袍》、《斬馬謖》、《斬子》）、「一碰」（《碰碑》）、「一探」（《四郎探母》）、「一定」（《定軍山》），以及老戲或新編戲都能演。這些都是一個頭路老生必備的戲。三軍劇團解散之後合併到了國光劇團，諸如馬派、楊派、麒派、余派等流派的名作，也都嘗試演出過，每個派別各有春秋，又各有難度。近年來因逐漸轉型去教、去導戲，因此感受頗深。當你是頭路主角時，只要把自己的戲演好就好，但當你是配角或給人教戲時，卻不容易了，你得全盤了解，全劇通透，才能教人或傍角兒。因此了解到二路配角有時比主角還難。
但因大環境與時代的變遷，京劇的市場已發生巨大變化。因現代人的娛樂多樣化、看戲觀眾的減少與觀眾看戲的視角都不一樣了，而在學校從小坐科學戲，也不像我們當年那般嚴謹與艱難，所以要培養一個角兒很難，更別說二路配角了。但對於我們這些吃一輩子戲飯的演員來說，總難免心有戚戚焉！這麼好的京劇藝術，總想為它找出個出路、辦法來延續、傳承下去。
本論文以一文（《搜孤救孤》）、一武（《定軍山》）為例，來探討京劇裡的二路老生該如何培養與如何傍角兒。這兩個腳色都是硬裡子老生活，具備的條件與主角差不多，要能唱能打卻又不能太過火，所以拿捏非常重要。因探討二路老生的資料少之又少，將以我的老師與自身的經歷來探討，並輔以對相關人物的訪談。
透過文獻閱讀、文本分析、訪談及自身的經歷發現：第一，歷史上有許多優秀的二路老生，絕非沒有本事，絕非小腳色。其二，二路老生與頭路老生之間，存在著密切的關連性。《定軍山》中，嚴顏襯托黃忠，表現了黃忠的英勇；《搜孤救孤》中，公孫杵臼的犧牲，成就了程嬰的忠義。而嚴顏與黃忠，公孫杵臼與程嬰，分別表現了不同面向的英勇與忠義。其三，｢角兒捧角兒｣，是未來二路老生可行且較佳的產生方式。

論文外文摘要
I graduated from the Beijing opera school of “Dapeng”（大鵬劇校）. As the 9th graduates, I major “Lausheng”（老生）in school time, and play lots of martial arts. Gradually, I have learned many plays that “Beijing opera lau sheng” should learn when I work in “Dapeng Troupe”（大鵬劇隊）. For example, like “jhanhuangpau”（《斬黃袍》）, “ jhanmasu” （《斬馬謖》）, “jhanzih”（《斬子》） , “Pengbei”（《碰碑》） , ”Sìh langtanmu “（《四郎探母》）, “Dìngjyunshan”（《定軍山》）, and something else including traditional and innovative programs. In 1996, I start to work in “GuoGuang Opera Company”（國光劇團）, trying to play many kinds of drama school like “Ma”, ”Yang”, ”Chi” etc.. For me, trying to play each drama school is not easy. In this years, I gradually transform to be a director and a teacher. So, I can deeply feel that being an actor is different from a director and teacher. When I play main character, I just focus on myself. However, when I have to teach or cooperate to someone else, I have to know more about every detail of this drama. Sometimes, being a “supporting role” is difficult to be a main character.
With the changing times, the surrounding of Beijing opera also change because people’s entertainment is different. At the same time, the training way in Beijing opera school also change, becoming easier than the time I study. So , it is hard to train a good main character. As for “supporting role”, it’s more difficult.
This study take “Sougujiougu”, “Ding jyun shan” for example, trying to discuss the way that “Erlulausheng”（二路老生） in Beijing opera be train , and how to “Erlulausheng” performance when they match the main character. The “Erlulausheng” in thease two plays are very important, Actually, they have to reach the same level with main character, however, the performance of “Erlulausheng” can not cover the main character, therefore, the accuracy of his performance is very important. Because of the information about this topic is very rare, this study will take the experience of my teacher, other actor and I to discuss.
According to the research of many study, I have some completion: First, there are many excellent “Erlulausheng” in history. Second, there are close connections between these two roles. For example, “ Yan-yan “（嚴顏）sets off “Huang jhong”（黃忠）‘s brave in “Dingjyunshan” ; the sacrifice of “Gongsunchujiou”（公孫杵臼）contribute to the loyalty and duty of “Chengying “（程嬰）. The third, the way of “main actor set off each other” is a best way to train “Erlulausheng” in future.