明代《牡丹亭》批評與改編之研究

Abstract

摘 要代劇作家湯顯祖在明萬曆年間創作了《牡丹亭》，此劇甫一問世即廣受歡迎，爭相傳誦，主要原因是此劇不論在戲劇語言、思想內涵、藝術技巧等各方面均極妥貼高妙，尤其在思想內涵上，其「主情論」之創作主旨影響明清戲曲創作甚鉅。正因此劇深受囑目，故在劇作問世之始，各方的迴響已紛至沓來。有曲論家針對劇作進行評論；有改編者根據特定目的加以改編；而初興盛的評點也加入了討論的陣容，與諸評論家、改編者等共同匯聚形成《牡丹亭》的研究熱潮。《牡丹亭》引發的迴響廣泛且多元，其中最具研究意義的應屬批評（包括曲論、評點等）與改編，本論文即以此為主軸，透過分析、闡釋與劇作之實際比較，將研究焦點放在明代，探討明代《牡丹亭》批評與改編之內在意義與價值。本論文除了緒論與結論外，共分五章加以探討：一章：明代戲曲品評、序跋、筆記中之《牡丹亭》批評。此類批評主要關注重點落在《牡丹亭》敘事層面的探討以及戲曲音律的討論上。在敘事層面，曲評家們考索劇作本事來源、指出故事情節的奇特性，並致力於《牡丹亭》情觀的發揚。此外，引發明代曲評家最多批評的就是《牡丹亭》的音律，他們以為湯顯祖未能瞭解吳中音律，因此律拗韻雜，登之於場上難免拗嗓之弊。整體而言，明代戲曲品評、序跋、筆記等批評文字中對《牡丹亭》音律的高度關注，正反映出在晚明崑腔聲勢日益壯大的時代氛圍中，曲壇對於音律的重視以及以崑腔為正聲的要求標準；而對於《牡丹亭》敘事層面的探討雖已及於題材、主旨語言等問題的討論，但是其缺點是在情節結構與人物塑造方面之評論仍少，未能周全。二章：明代《牡丹亭》評點中呈現之批評觀。其關注重點主要在三方面，一是關於《牡丹亭》「情觀」的詮釋，指出劇中人物情深、情痴、情正的特質，探討《牡丹亭》複雜而深邃的「情至」主題；二是關於《牡丹亭》情節結構的分析，提醒讀者注意劇中梅、柳意象貫串全劇、緊密聯繫情節線索的功能，以及「針線」、「埋伏」、「照應」等結構概念；三是人物塑造方面的批評，強調《牡丹亭》劇中人物的個性化描寫與人物性格中包涵的複雜特質。基本上，明代《牡丹亭》評點因受形式影響，仍停留在敘事文學的論述範疇，對於與戲劇本質相關的問題如排場設計、關目設置之冷熱穿插等問題並未充分討論。三章：明代《牡丹亭》改編本之改編特色與得失。明代《牡丹亭》純粹改編本目前確實可知的有沈璟的《同夢記》與徐日曦《碩園刪定牡丹亭》，傳說中的「呂家改本」是否曾經存在則尚有疑義。沈璟改本以音律整飭為其修改目標；徐日曦《碩園刪定牡丹亭》對於原作文辭則幾乎沒有更動，只是單純地刪削齣目、調整情節次序，俾使劇作「縮長為短」，使冗長的劇作刪減為較適合演出的演出本。此外，明代已經出現的折子戲演出方式，也是改編形式的一種，在《牡丹亭》選齣中，改編現象較明顯的是《醉怡情》中收錄之散齣，此書所收四個《牡丹亭》散齣之所有改編作為均以情節集中、減少用曲數及加強舞臺效果為目標，強烈突顯戲曲之場上特質。四章：明代《牡丹亭》改評本之一：臧懋循《還魂記》之改編與批評。其關注點主要有二點，一是音律，其改編之音律標準雖然極大部分與沈璟《南曲全譜》相合，但是也有部分採用當時的時調新曲與南曲戲文的曲律習慣，表現出以當時吳中曲唱實際狀況為依歸的靈活態度；二是情節結構，臧懋循認為原作頭緒太多，情節之主題表現受到干擾，改編時須更動原作枝蔓鬆懈之處，他並且強調埋伏照應與情節合理性的重要，在批語中多次評論原作組織嚴密與否的問題。整體而言，臧懋循之改編與批評多以舞臺演出實際為考量。五章：明代《牡丹亭》改評本之二：馮夢龍《風流夢》之改編與批評。馮夢龍改評本不僅大刀闊斧刪改情節與曲文、調整劇本結構，並且多處以自己新作之曲文置換原作，使得劇作面目與原作有極大的不同。在音律方面，馮夢龍對戲曲音律重視的程度，比起臧懋循來可以說是有過之而無不及；在情節結構方面，馮夢龍與臧懋循同樣要求劇作須前後照應、針線細密、減頭緒、講求情節的合理性，故馮夢龍改本針對原作劇本的缺陷大幅度整編，使結構更合理簡練、更適於場上。馮夢龍的貢獻是充分認識戲曲作品的場上本質，將演出作為創作之最終目的，因此，在批語中可以看到其對於演出的提示，也可以看到有關場景的處理、服裝、佈景、砌末等方面的說明，可以說已經觸及了導演學的範疇。全面研究明代《牡丹亭》批評與改編之內涵意義與成就後，發現若將其研究成果置於戲曲理論發展史中審視，也具有特殊意義。綜觀明代《牡丹亭》相關之研究，不論是理論的批評或具體的改編，其內含之戲曲觀念從整體上看卻朝向同一個趨向發展，即更全面性地認識戲曲之藝術構成要素，認識戲曲本質特徵，其主要表現則為注重戲曲搬演的舞臺特徵與強調戲曲文學的敘事性。代有關《牡丹亭》之批評與改編，讓《牡丹亭》之藝術成就更為世人所了解，也為《牡丹亭》「經典」地位的建立貢獻了力量。今日《牡丹亭》的研究正蔚為風氣，承續著明代以來的討論熱潮，甚至有過之而無不及。從歷史的眼光來看，許多課題的研究在明代開創，延續到清代、現代，有些仍然難以有一致的共識，有些則已獲得了解決，而明代《牡丹亭》的批評與改編，正是對於這部經典的研究的開端。

Abstractn Ming Dynasty the dramatist Tang Hsien-tsu created The Peony Pavilion, which was extremely popular as soon as it was released. It was because its excellent drama language, contents and art skills. Within which, the content whose focus was on affection had great influence on the composing of the Ming and Ching dramas. Because it was well-loved, it received reviews from everywhere. Some drama critics criticized the play, some adaptors adapted it and the first budding drama criticism also joined the discussion. The Peony Pavilion arose great and multiple reviews, in which the criticism and adaptation are the ones which were worth studying. This dissertation is based on the criticisms and adaptation of The Peony Pavilion, and discusses the inner meaning of the criticisms and adaptations by analyzing, explaining and comparing. In addition to the introduction and conclusion, this dissertation is divided into five chapters. hapter 1 : The criticism of The Peony Pavilion in Ming dramas. The criticism of this kind focused on the discussion of the narrative and the dramatic rhythm. In the narrative level, critics explored the origin of the play, pointed out the particularity of the plot in The Peony Pavilion. Besides, the rhythm of The Peony Pavilion is the most criticized. The critics considered that Tang, Hsien-tsu failed to understand the rhythm. All in all, although the discussion of the narrative level had touched the materials topic ,and the language, there was few discussion of the plot and the portray of the characters.hapter 2:The critical concepts presented in the criticism of The Peony Pavilion. First: the interpretation of the love concepts in The Peony Pavilion. Second: the analysis of the plot and structure. Third: the criticism of the creation of the characters. Basically, the criticism of The Peony Pavilion in Ming Dynasty was still restrained by its form. It was still within the field of narrative literature but the essence of drama was not fully discussed.hapter 3: The adaptation features and flaws of the adaptation. The merits and flaws of the adaptations of the The Peony Pavilion. Shen, Jing’s Ton Mong Ji and Xu ,Ri Xie’s Shuo Yuan Shan Ting Mu Tan Ting, while the existence of Lu Shih kai Peng is doubted. Shen Jing’s adaptation modified the rhyme and rhythm; Xu Ri-Xie’s adaptation had little change in the words but just shorten the length. Besides, The Fragmented highlight, which was also a form of adaptation, had already been performed in Ming Dynasty. Its goal is to simplify the plot, reduce the repertoire, and enhance the stage effect. hapter 4: The adaptation and criticism of Tsang Mao-Hsun’s Hwan Hwen Ji. The focus of this adaptation are on the rhythm and the plot. Tsang,Mao-Hsun adapted The Peony Pavilion for the sake of the stage performance.hapter 5: the adaptation and criticism of Feng,Menglong’s Romantic Dream not only revised and changed the plot and repertoire but replaced with his own verses, which made his adaptation different from the original. His adaptation was also focused on rhythm and plot structure. Feng,Menglong’s contribution is to fully recognize the of stage effect drama and to view stage performance as final destination. Therefore, his hints for performance had been seen in the criticism, and stage decoration and costumes are also mentioned, which had reached the field of directing. he criticism and the adaptation of The Peony Pavilion played an significant part in the development of drama theory history. Related studies about The Peony Pavilion all held similar perspectives, which was to thoroughly understand the essential characteristics of dramatic play, to reveal the importance of stage performance and the emphasis on the narration of the dramatic play. All in all, the criticism and the adaptation of The Peony Pavilion made people know more about its art achieve and contributed to its classic position in Chinese drama literature.