明清以來〈拾畫〉〈叫畫〉折子戲文本及其演出之探討 = From Texts to Performance: "Shihua" and "Jiaohua" of the Zhezi Plays since the Ming-Qing Dynasties

Abstract

〈拾畫〉〈叫畫〉是崑劇《牡丹亭》獨唱獨做的折子戲，文靜細膩，是高難度的巾生戲。本文比較湯顯祖原著〈拾畫〉〈玩真〉與改編本之差異。其次，從明清北劇南戲選本、舞臺演出本和身段譜，觀察舞臺演出的變化過程。再從清代工尺譜之差異，比較樂工定譜的內在意義。最後，分析俞振飛(1902-1993）、周傳瑛(1912-1988）、浙崑汪世瑜(1941-）、上崑岳美緹(1941-）、蘇崑石小梅(1949-）等近現代崑劇表演藝術家，對〈拾畫〉〈叫畫〉折子戲舞台表演之差異。檢閱湯顯祖《牡丹亭》相關研究之成果，對〈拾畫〉〈叫畫〉的著墨略少，本文嘗試藉〈拾畫〉〈叫畫〉印證崑劇折子戲從文本到定型的歷史發展。

The “Shihua” 拾畫and “Jiaohua” 叫畫in the Kun opera Mudan ting牡丹亭are both regarded as independent zhezi (opera-drama sketches) 折子plays. The two plays are not only graceful and exquisite but also belong to highly difficult jinsheng巾生 (scholar) plays. This paper will first compare the differences between the original and adapted versions of “Shihua” and “Wanzhen” 玩真. Secondly, the author observes the transformative process of stage performance by exploring selected Northern operas and Southern plays, texts for stage performance, and shenduan pu身段譜 (notes of body language) in Ming and Qing dynasties. In addition, the differences of gongchi pu工尺譜 (music scores) will be examined in order to shed light on the internal meanings of the scores composed by Qing musical artists. Finally, the paper will analyze the differences among the stage performances on “Shihua” and “Wanzhen” by modern actors/actresses, including Yu Zhenfei俞振飛(1902-1993), Zhou Chuanying周傳瑛 (1912-1988), Wang Shiyu汪世瑜(1941-), Yue Meiti兵美緹(1941-), and Shih Xiaomei石小梅(1949-). In view of the conspicuous lack of discussion on “Shihua” and “Jiaohua” in current studies of Tang Xianzu’s Mudan ting, the paper, by way of examining “Shihua” and “Jiaohua, ” will make a special contribution to our understanding of the historical process through which zhezi plays in the Kun opera had consolidated from original texts.