2021-01-012024-05-13https://scholars.lib.ntu.edu.tw/handle/123456789/653143本三年期計畫試圖對中國戲曲之「武戲」從何而來，進行追本溯源與脈絡梳理；亦即，今天文本中、舞臺上的「演武」於中國戲曲史的發展演進，是奠基於何時、何地、何種脈絡而漸次成形的呢？若暫且不論漢魏至唐宋的百戲、雜技，以成熟戲劇體製而言，武戲之編寫、演出，實應上溯自元代雜劇處理「戰爭場景」之濫觴，至於關鍵轉折，應發生於「由元入明」的雜劇演變史，尤其是明代宮廷教坊的雜劇表演。本計畫預計將「脈望館鈔校本古今雜劇」中的鈔本，即所謂「明內廷雜劇」區分出來單獨細究。這批鈔本的性質為「內廷本」，其演出場合（宮廷）、伶工（宮中承應太監或專業伶人）與觀眾組成（皇帝內監權貴等）深具特殊性，並反映出截然不同於元代雜劇與其他明人改本雜劇、明清傳奇的筆法。本計畫將分三年期挖掘明內廷本在武戲技藝上的發展、武戲表演場面的處理，甚至是主題意識上的變異，析理出一條由「內廷供應」而逐漸形成的中國戲曲演武線索及其表演藝術特色。 This three-year-project is trying to ask a fundamental question: when and how was the “martial plays” of Chinese drama derived from? In other words, on which occasions the martial arts performance of Chinese theatre we have watched today based and developed? If we leave alone the baixi (hundred-plays) and acrobatics from Han to Tang and Song dynasties, the martial elements happened in the playwriting and performance should be traced to the first mature drama form and content: the war scenes of Yuan drama. As for the key turning point of its development, it is likely that the transforming took place in the Yuan-Ming zaju, among which the Ming court theatrical zaju was the core. This project plans to investigate the manuscripts of Maiwangguan chaojiaoben gujin zaju as the subject. The character of those manuscripts is “palace edition”, so its “specific” performing occasions (court), players (from eunuchs or other sources), and audience (emperor, eunuchs, imperial families) lead to a total different writing/performing strategies from other Ming drama. The purpose of this proposal is to dig out a variety of martial arts elements in Ming palace zaju, to interpret the skills/props/scenes/plot-making in its texts, and to analyze the theatrical contexts of martial plays in the history of Chinese drama.武戲脈望館明宮廷雜劇鈔本教坊趙琦美martial playsMaiwangguanMing palace zajumanuscriptjiaofangZhaoqi mei