演出

Sociologist Erving Goffman (1922-1982) used the concept of the theater metaphor to analyze how people interact in everyday performance He examined the roles taken on by individuals, different aspects of these roles, how individuals interpret these roles, and how individuals distance themselves from the roles. He explained how individuals go through their lives like actors on the stage playing out their roles for others. In the theatre, the front-of-house staffs are the obvious, most easily recognized representatives of the Service.

社会学家尔文高夫曼(Erving Goffman，1922-1982)运用戏剧分析模式来解读平日习以为常的互动秩序，其认为人们都是舞台上的演员，在观众面前必须竭尽所能，将最完美的演出行为加以呈现并发展出套独特的戏剧论，将社会互动比喻成一连串的表演或戏剧，行为比喻成戏剧演出，而人们在观众面前扮演各种不同角色，一切的行为举止都试图符合他人期待，因此人们会随著不同的情境或观众的要求，自我改变而呈现多种面貌，并调整形象来强化演出。

After years of temper, the dance troupe has become the China disabled show "my dream" the fledge performance in 40 countries, the performance caused a sensation. On September 28, 2004, of the thousand-hand bodhisattva as main program at the Athens games, the closing ceremony 8 minutes to power in the world.

经过几年的锤炼，这个舞蹈节目已经成为中国残疾人艺术团"我的梦"专场演出的保留节目，在40余个国家的演出均引起轰动。2004年9月28日，《千手观音》作为主打节目在雅典残奥会闭幕式的8分钟演出，技惊世界。

Her upcoming schedule is hardly a breeze; it's all Wagner:"Tannhaüser" in Munich, a new "Parsifal" in Vienna and "Die Walküre" in London.

她即将来临的计划安排绝非轻而易举；清一色瓦格纳的歌剧：在慕尼黑演出《唐豪塞》、在维也纳演出《帕西法尔》和在伦敦演出《英魂传唤使》

In 1991, Jake moved to the US to continue the study and performance of jazz guitar in several forms: as a solo guitarist; as part of a vocal--guitar duo (which won the 1992 WEMU Jazz Competition and the Emily Remler Guitar Scholarship Award); in the Jake Reichbart Trio With bassist Kurt Krahnke and drummer Pete Siers; in the septet "The Jazz Company"; in "The Lunar Octet", an eight-piece Latin jazz group and in a jazz-rock quartet, featuring keyboardist Phil Kelly.

在1991年，杰克搬到美国，继续研究和演奏爵士吉他，包括下面几种演出形式：独奏吉他；人声-吉他二重奏（赢得1992年 MENU 爵士乐比赛和 Emily Remler 吉他奖学金）； Jake reichbart 三人组（贝司手库 Kurt krahnke 和鼓手 Pete Siers ）的演出；"爵士伙伴"七人乐队的演出；"月球八重奏"，以及在一个爵士摇滚四重奏（键盘手菲尔凯利很有特色）。

Tercel wins high opinions by leaders of party and state and friends of internal and external when Tercel performs in People's Great Hall and Diaoyutai Guesthouse. Especially when we performed in countrysides, industry and minings, schools, troops and jails, many spectators were moved with thunderous applause. We win the great welcome of spectators.

"雄鹰"多次参加人民大会堂和钓鱼台国宾馆的大型演出，受到了党和国家领导人以及国内外各界朋友的一致好评，特别是在农村、工矿、学校、部队、监狱演出时，赢得了观众的热列欢迎，演出现场掌声雷动，很多观众都流下了感动的热泪。

The words "Pai-Chang"or "Pai5 Tiunn5" have many meanings But when used in traditional opera or music and explained as a kind of formal musical performance they are only applied in Taiwanese Peguan and Nanguan cultural circle particularly in Peguan circle There are two kinds of characters of "Pai-Chang" in terms of the function of the performance namely artistry and folk custom In Tainian city "Pai-Chang" which refers to the formal vocal performance without makeup and acting; nevertheless is used by the amateur actors' organizations of Peking opera as well Such a phenomenon raises two questions: first of all Although Peking the origin of Peking opera has vocal performance of Peking opera "Pai-Chang" is never used either artistry or folklore therefore how does this jargon hand down to the Peking opera circle in Tainan city ?

「排场」(pai5 tiunn5或ㄆㄞˊㄔㄤˇ)一词，用於戏曲音乐方面，做音乐的正式演出型态解释者，为台湾南北管文化圈所特有，其中又以北管最常使用。其以表演目的或弁郧荌粥洃嚏A可分为艺术性与民俗性两种。然而，在台南市及其周边的京剧文化圈内，亦使用有「排场」(pai5 tiunn5或ㄆㄞˊㄔㄤˇ)此一语汇，也指京剧的「正式清唱演出」。本研究动机基於对目前仅见於台南市及其周边之民俗性京调排场的两点疑惑：其一，按京剧的形成地－－北京，虽亦有京剧的清唱演出，然不论为艺术性或民俗性，北京人都不称为「排场」，那麼台南市京剧圈的排场语汇是如何得来的呢？代表了何种意义？

This paper therefore examines the development of "the folklore Pai-Chang of Peking opera aria in Tainan city" through literature review depth-interview oral history and participant observation The concept frame is culture organism as the vertical axle and elements of a folklore activity as the transverse axle There are several significant findings about the general picture of this subject: During the late period of Japanese colonial era Tainan local people who played Peguan music learned Peking opera aria and tried to bring Peking opera aria into the folklore Pai-Chang which was one kind performance and traditional custom of Peguan music Some people who came from other places and played Peking opera aria had also known or learned "Pai-Chang" with touching Tainan local amateurs "Pai-Chang" used to be performed by amateurs for worship of god or goddess or for seasoning and wedding celebration without rewards Amateurs volunteered to perform "Pai-Chang" only for their duty temples and fraternity of Peking opera aria The majority of the audience is people who perform or like "Pai-Chang" or who live nearby There is a fixed pattern of the performance including the repertoire and the arrangement of the band The main meaning of this performace is to pray God's blessings therefore the procedure of "Ban-Hsian" is the most essential and ahead of Peking opera aria singing With time goes by the number of the amateurs has dropped; yet the demand for the worship ceremony remains; hence some of the amateurs have been trained to become professional performers Besides although the idea and the meaning of "Pai-Chang" remains the pattern of the performance has become simplified and rigid which is because of the performers' number decreasing and market adapting Nowadays the whole ecosystem of the folklore Pai-Chang of Peking opera aria in Tainan city keep changing which is mainly influenced by the transition of the society(such as the time and space of the industrial and commercial society being compressed and most people's pursuing of specialization and utilitarianism etc ) According to the findings in this paper the phenomenon can be regarded as the subject matter both of Peking opera and folklore studies For the studies of the Taiwanese culture however the subject not only enriches the subject matters of the Taiwanese culture(signifies the localization of Peking opera and a new pattern of Taiwanese folklore) but also reflects the characters of diversification integration adaptation and compromise of Taiwanese culture which used to be influenced by different regimes and the historical contexts Facing such a multicultural context this paper thus suggests researchers should show an open-minded attitude toward the complex of the Taiwanese culture studies and then important phenomenon would not be ignored or misunderstood

代表了什麼意义？对於上述疑惑，查既有研究成果，不消没有论述者，具体提即「京调排场」现象的可说没有，基於此，有必要对台南市及其周边之民俗性京调排场，不管是语汇来由或者其现象本身，做一番研究。本研究透过文献、访谈、口述史、参与观察等方法，以文化有机体之纵的发展概念为经，以民俗表演之横切面各主客要素为纬，试图先对此文化现象调查并推论出一概貌：台南市民俗性京调排场的形成，是在京调传入台南，台南本地北管子弟改习或兼习京调后，结合北管音乐文化所固有的排场表演型态及民俗演出传统，融合而成，形成时间至迟在日治晚期。而一些不同时期的外来京调人士(如原本生长於其他地区、后移住台湾的票友，和中国大陆琴师等等)，也曾透过与当地子弟的接触，而习得或知晓「排场」语汇以及本地京调排场习俗者。此项音乐民俗表演在过往多由业余子弟於神诞或民众婚俗做寿时，对其有义务或交陪的庙宇及子弟间做酬酢性的演出，不收报酬；聆赏者多是京调同好与邻近民众，也有少数路过者；演出模式包括节目安排、乐队编制皆有一定；表演意涵上以「扮仙」祈求神明赐福人间最为重要，因此排仙必不可少，且一定先於京调演唱。随著时间推移，京调排场表演活动的各要素都有变动，惟变迁速度不一，大体而言，业余表演者锐减，人们对酬神娱神节目的需求仍在，因此一些过往的业余表演者遂逐渐转型为职业表演者。此外，虽然表演意涵不变，但在职业表演人员少、又要适应市场的情况下，表演模式亦逐渐流於简化、僵化。目前京调排场整体生态仍在转变的过程中，而这种变化应与工商社会时间空间的被压缩、事事追求专业化与尼Q化等因素有关。再者，据此概貌，在结论部分厘清其意义、定位以及其对台湾文化研究之启示。台南市及其周边之民俗性京调排场现象，可视为京剧研究与民俗研究的一环，然而对於台湾文化研究，除了其题材本身标志了京剧的本土化与台湾民俗活动之新类型，进一步扩充整体台湾文化研究的内容外，更重要的是现象背后所反映的台湾文化的多元融合与妥协适应取向。台湾的海岛地理位置与长期被不同文化背景政权所殖民的历史，其文化自然容易随社会环境改变而弹性适应变迁，呈现多元纷呈、多重覆叠的特色，因此展望未来，从事台湾文化研究应秉除单一观点，保持一定程度之开放与客观胸襟，方不忽视或误识更多重要的文化现象。

We were almost forced to cancel the show in Portugal since promotor tried to us.

因为赞助人玩弄我们使得我们几乎被迫取在消葡萄牙的演出，他没有付给我们酬金使得我们被迫在呆在旅馆直到他付钱，那次演出被推迟了，但是很幸运的是我们还是演出了

We were almost forced to cancel the show in Portugal since promotor tried to **** us.

因为赞助人玩弄我们使得我们几乎被迫取在消葡萄牙的演出，他没有付给我们酬金使得我们被迫在呆在旅馆直到他付钱，那次演出被推迟了，但幸运的是我们还是演出了

We were almost forced to cancel the show in Portugal since promotor tried to fuck us.

因为赞助人玩弄我们使得我们几乎被迫取在消葡萄牙的演出，他没有付给我们酬金使得我们被迫在呆在旅馆知道他付钱，那次演出被推迟了，但是很幸运的是我们还是演出了

Do you know, i need you to come back

你知道吗，我需要你回来

Yang yinshu、Wang xiangsheng、Li decang,The first discovery of haemaphysalis conicinna.

1〕 杨银书，王祥生，李德昌。安徽省首次发现嗜群血蜱。