2019-08-012024-05-18https://scholars.lib.ntu.edu.tw/handle/123456789/711950摘要：據華瑋研究，最遲至明萬曆年間已有女性作家的劇作出現，明清兩代知其姓氏的女 性劇作家多達二十五位， 其身分有妓女、道姑、商人之女，但多數來自士人階層 ，劇作題材或改編歷史、時事、小說，或取材生活，或虛構而成，內容包羅萬象。 (華瑋，《明清婦女戲曲集》(臺北:中研院文哲所，2003年)筆者檢閱這些作 品，發現其中不少與神仙度化有關，如葉小紈《鴛鴦夢》、王筠《繁華夢》、何珮 珠《梨花夢》、劉清韻《小蓬萊仙館傳奇》等等。此類作品在情節架構與表現形式 上雖多有沿襲傳統度脫劇之處，但仍呈現與男性劇作家不同的度脫景觀，發展出女 性作家獨特的書寫內容與風格，如上述幾部劇作在處理度脫議題時，除夢境手法的 沿用、轉化外，都與性別議題結合，或夢中變性，或投胎變性，在性別轉換過程中 覺悟，為度脫的動機增添了性別因素;又度化神人多為女性仙佛人物，如觀音菩薩 、麻姑、毛女等，度化意象亦與男性作家不同，表現出有別於傳統度脫劇或度化意 象的面貌，顯現女性的生活信仰及生命想像與男性的差異。 本計畫擬以此類劇作為研究素材，探討明清女性劇作家的度脫書寫在內容與形式上 與男性劇作家之差異，歸納其特色，並進一步探討其書寫與女性劇作家的身分、信 仰、思維及生活之關係。<br> Abstract: The Wanli Era of the Ming dynasty started to see plays by female playwrights. In the Ming and Qing dynasties, there were as many as 25 hitherto known female playwrights. While some of them were a prostitute, a Taoist nun, or a businessman’s daughter, most of them were from the class of literati. Featuring a variety of topics, their plays were adapted from historical facts, events at the time, or novels; inspired by events in their daily life; or based on their own fantasies. After reading and examining these works, the author of this project discovered that many of these plays touch on celestial deliverances. Examples include Yuanyang Meng (mandarin duck dream) by Ye Xiaowan, Fanhua Meng (dream of prosperity) by Wang Yun, and Lihua Meng (pear flower dream) by He Peizhu. While the plot structures and expressive forms usually follow traditional Dutuo Drama, these works still exhibit a perspective different from that in those written by male playwrights, presenting a content and style unique to female playwrights. In the above-mentioned plays, besides the conventional adoption of dreams as a means of transformation, they all involve the element of gender in regard to the motivation of attaining celestial deliverances. The characters spiritually awakened during the process of gender switch either in their dreams or in their afterlife. Moreover, the deities who help with the deliverances are mostly female celestials like Kuan Yin, Ma Gu and Mao nu. These features are absent in the traditional plays of this genre, pinpointing the differences in beliefs and imagination towards life between female and male playwrights. With the female playwrights` works as research materials, this project explores the features of their works for a better understanding of how these female playwrights in the Ming and Qing dynasties differ from their male counterparts in terms of the contents and forms of their Dutuo Drama. In addition, the relations between these female playwrights’ writing styles and their identities, beliefs, thinking, and life will also be discussed.明清戲曲女性劇作家度脫劇宗教書寫Ming-Qing playsfemale playwrightsDutuo Dramareligious writings