鄭光智：戲〈第三樂章：扮戲〉/ Kuan-Chih CHENG: Chinese Operas (Third Movement: Acting)

竹笛/施美鈺 樂團/小巨人絲竹樂團 天鼓擊樂團 指揮/陳志昇 2019.8.28 兩岸薪傳系列 緣 地點/台灣.台北市.國家音樂廳 錄影/亞格影音 張興漢 錄音/王昭惠（委託創作、世界首演）http://www.littlegiant.idv.tw/index.htm

戲曲可說是融合當代文學、音樂與舞蹈等等各方面之綜合結晶，可直接的表現時代的風貌與人文特色。在近代戲曲中，「笛」一直是屬於重要的伴奏樂器，舉凡伴奏崑曲的笛子，音色柔美婉轉，被稱為「曲笛」或「崑笛」，伴奏北方梆子戲的笛子，音色高亢亮麗，被稱為「梆笛」或「高笛」，皆可看出笛子在戲曲伴奏中的重要性。
作曲家運用笛子在戲曲中的重要地位，並將之提升至獨奏的形式，希望透過用三段不同的戲種（儺戲、崑戲、京戲），三種不同的笛子（大笛、曲笛、梆笛），來表達人一生中遇到戲的情景（看戲、聽戲、扮戲），藉此表達戲不只存在於舞台上，更是在我們的生活裡，傳達「人生如戲、戲如人生」。
樂曲分三個樂章：
看戲：人最開始接觸戲曲的時候，往往都是從看戲開始，作曲家運用大笛深沉具有張力的音色，用以表達儺戲裡神秘詭譎的氛圍，並且極具張力的現代派音響設計，敘述人一生中在扮演著不同的角色，不只是看戲，不同時機展現的不同面孔，人生就是一部戲。
聽戲：崑曲所使用的曲笛，音色柔美婉轉，不看戲直接聽崑曲，就是明朝時普羅大眾的生活娛樂。作曲家運用崑曲曲牌「皂羅袍」與「好姐姐」中旋律片段，優美的音樂彷彿用聽的就能感覺到戲，敘述人生中那些倏忽即逝的美好，點點滴滴的流存在心裡。
扮戲：在舞台上粉墨登場的演員們，扮演著不同的角色，唱著不同角色台詞，反觀其實人生也是如此，每人在各種場合總是扮演的不同的角色。作曲家使用京劇曲牌「夜深沉」，讓梆笛高亢嘹亮的音色，表達人生中各種的歡樂與希望。
此曲由小巨人絲竹樂團委約，台北市文化局補助。

Kuan-Chih CHENG: Chinese Operas (Third Movement: Acting)

Dizi: Mei-Yu SHIH / Little Giant Chinese Chamber Orchestra, Tien-Ku Percussion Group / Chih-Sheng CHEN / National Concert Hall / Taipei, Taiwan / Video: Jacob Audio and Video Arts, Jacob Chang / Audio: Chao-Hui Wang. 2019.8.28 (commissioned work, world premiere)

"Chinese Operas" can be considered an amalgamation of contemporary literature, music and dance, that reflects the cultural dynamics of the times. The Chinese flute "Di" has always been an important accompaniment instrument. The Di for accompanying Kunqu opera has a soft and mellow tone and is called "Qudi" or "Kundi." Accompanying high-pitched northern opera with bright tones is the "Bangdi" or "Gaodi." With its prominent use in opera, the composer elevated the Di for solo roles as well. Using three types of operas (Nuo, Kun and Beijing) and three types of Di (Dadi, Qudi, Bandgi), the composer hopes to convey everyday scenes of operatic experiences (watching, listening, and acting). For drama exists not only on stage, but in reality: "life is a drama and drama is life."

This work is divided into three movements:
1) Watching Opera: most people start by watching as the initial experience with opera. The deep and intense tone of the Dadi is used to convey the mysterious and treacherous atmosphere in Nuo opera. Also contemporary by design, the composer describes the various roles one plays in life - watching passively at times, but also revealing different reactions under different circumstances. Life is a play.

2) Listening to Opera: the Qudi used in Kunqu opera has a soft and mellow tone. Listening to Kunqu opera, without watching, was a popular form of entertainment for the general public during the Ming Dynasty. Melodic fragments from the Kunqu operas "Zaoluo Pao" and "Good Sister" are employed here. One can feel the story through listening alone. The beautiful melodic lines describes the fleeting beauty of life, leaving lasting impressions in our heartstrings.

3) Acting: actors played and sang different roles just as in real life. Everyone plays different roles on various occasions. The Beijing opera song "The Deep Night" is adapted here for the Bangdi's high-pitched and robust qualities to express joy and hope in life.

This work was commissioned by the Little Giant Chinese Chamber Orchestra and supported by the Taipei Cultural Bureau.
(Translation: Shiyan Zhang / Edit: Patty Chan)
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