高雄市政府新聞局-海洋首都中英文雙月刊 2011/07/01 第3期 Maritime Capital Kaohsiung http://kcginfo.kcg.gov.tw/Publish_Content.aspx?n=A22859B204186560&sms=6A6B57F5FE966020&s=7CA7BDAC33DBE343&chapt=6381&sort=1
20111010 ScrapBase 春美歌劇團 http://scrapbase.blogspot.com/2011/10/blog-post_412.html
Chun-Mei Taiwanese Opera Troupe 【English written by Peng Hsin-yi, Photos by Pao Chung-hui 】
Chun-Mei Taiwanese Opera Troupe performs at temple celebrations and other public events. Canvas tents are erected in temples' courtyards. The tents double as dressing and backstage areas. Performers have no air-conditioned dressing rooms to prepare. Makeup and costumes transform the troupe into character, while the audience gathers, fanning themselves in the tenacious heat. Chun-Mei has many die-hard fans which come out in the middle of the day to ensure they save a good seat. The shows usually begin at 7:00 p.m., but the crowds wait patiently for hours. This is certainly different than other troupes.
Founder and managing director Ms. Guo Chun-mei, was born into a Taiwanese opera family business. Growing up she became accustomed to Taiwanese opera performances and touring Taiwan's towns. She herself is part of a living history in the evolution of Taiwanese opera. Ms. Guo believes every profession has its pros and cons and has chosen to devote her life to the business. "When General Tian Du (guardian deity of Taiwanese opera and folk art) invites you to his table, you can't say no to his treats, even though there is always a little bitterness mixed in with the sweets."
Chun-Mei Taiwanese Opera Troupe was established in 2000 and selected by the Council for Cultural Affairs as a focus group in 2004. Every year it receives prestigious recognition. Ms. Guo has been in the business for 30 years, cultivated numerous new talents and has even performed at the National Theater. However, even after performing in some prestigious theaters, Ms. Guo still favors the traditional tents, stages on scaffolds and performing for temples. "It is where we have come from; this is where our roots are!" She is widely recognized for her many artistic merits. On average, Chun-Mei has performances 200 days per year, with a troupe of 15 performers in rotation. With such a high frequency of performances they have solid stage experience and are motivated by strong fan support. "You can't help but give your best when the audience is putting on rain coats in order to watch the rest of the show in the pouring rain".
Taiwanese opera is also known as "Sing-song Theater" or "Field Theater". There are no written scripts and details are decided on the day of the show. The plot master gives the troupe a story outline, sequence of events and other details. The rest is left to performers to improvise. Song is also a large part of the performances, which are left up to the personal merits of the performers. A good performer can move audiences with eloquent language and verses and capture their attention with their acrobatics and gestures. Ms. Guo has been playing "Sheng" (a young leading male) for decades. Although she is a master of the trade, she believes there is always more to learn and no end to self improvement. She believes the most important assets for a Taiwanese opera performer are their understanding and ability to use language and culture in performances. Due to the fact every show is improvised, every performance challenges the performers' vocal and theatrical talents. Some performers incorporate slang and proverbs into their songs; however, rhyming is a skill that takes years to perfect.
Running a theater troupe is a huge responsibility, particularly for Taiwanese opera. Traditionally, companies are responsible for the livelihood of all its members. Ms. Guo, regards her troupe like family. Inheriting the business from her parents, she feels a strong sense of duty to preserve these traditions. She also hopes people regard her character, as the customary high energy and cheerful "Sheng". She hopes audiences will continue to enjoy their shows and come out more often.
春美歌劇團 【文/侯雅婷；攝影/鮑忠暉】 20111010
仲夏溽暑的午間，高雄在地「春美歌劇團」演員正著裝準備野台廟會演出，同一地點，晚上七點還有一場演出。帆布棚後台，演員每人配備一台電風扇、一只大道具箱，演員們忙著化妝、著裝，而舞台前的戲迷們人手一把扇子，搧著那趕不走的熱氣，引頸企盼著春美的演出。連廟方都表示：「春美的戲迷為了觀看晚上的演出，中午就來等候了，可見這一團還真有兩下子！」
團長郭春美出生於歌仔戲世家，她從小對南征北討的工作型態感受特別深。對於別人口中這個需要有很多熱情才能堅持下去的行業，郭春美說，每一行都有其辛苦之處，最後還是堅持以專業，站上舞台發光發亮。一句：「老爺公（歌仔戲守護神─田都元帥）的飯，吃下去就出不來了。」道盡這一行的甘苦。
2000年成立的「春美歌劇團」自2004 年起連續7年獲選為文建會扶植團隊，培訓新秀不遺餘力，備受肯定。從事歌仔戲表演30多年，郭春美締造許多光榮的紀錄，曾站上國家戲劇院的她坦誠，還是最鍾情野台戲演出。「野台戲是我們的根！」每年演出約200場野台戲的春美，固定班底有15位，豐富的經驗奠定團員們的公演實力。談到在滂沱大雨時，仍有台下觀眾穿著雨衣，留在原地看戲，這位台灣公認第一流的小生感性的說，觀眾的支持是她的動力。
野台戲沒有劇本，當天才決定演出腳本，劇班中的戲先生講述劇情大概、演出順序及表演過程，其餘則考驗演員即興表演功力；而歌仔戲獨具的「以歌帶戲」的表演型式，反應台語之美的唱詞是否能傳達出韻味，配合身段打動觀賞者的心更是關鍵，也因此，已經是老師級的郭春美仍表示：「功夫是學不完的！」她強調，一個優秀的歌仔戲演員「腹內」功夫（即素養）非常重要，每一次上台都是考驗著演員的唱功，更上一層的唱功會以民間俚語、諺語或使用押韻等表現方式豐富唱詞。
辦劇團是要顧三餐，更是一份使命感，延續父母親傳承下來的歌仔戲事業，當郭春美被問起她希望外界怎麼看春美，以小生般的爽朗答道：「希望他們覺得春美是很棒的歌仔戲團，常來看我們的演出。」
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