國立臺灣大學中文系曾永義Tseng, Yong-yihYong-yihTseng2006-12-202018-05-292006-12-202018-05-292003-08-05http://ntur.lib.ntu.edu.tw//handle/246246/2006121215550742This article first asserts that “Drama means stories being played out”, and “Every small play of Chinese traditional opera means singing, dancing with speaking for others to playing stories.” By this precondition, the auther researched Chin’s literal literature and found out the process that elememts gradually composed together.本文首先說明，凡「演故事者謂之戲劇」，凡「合歌舞以代言演故事者謂之戲曲小戲」﹔在此前提下，考述先秦文獻，可知構成戲劇、戲曲為有機體之諸要素逐漸結合的情形：由〈葛天氏之樂〉見其原始歌舞之結合;由《周禮》〈大司樂〉，見樂舞合用;「瞽矇」見歌樂合用;「六樂」，見其祭享合用歌舞樂;而八蜡既為「戲禮」，似已具演故事而為「戲劇」之端倪;而儺中之方相氏就其扮相與職務觀之，當已具「戲劇」之條件矣;而周初《大武》之樂，演出武王伐紂故事，更為實質之「戲劇」，其年代距今三千一百餘年;至於戲曲雛型之小戲，則《九歌》諸篇，尤以〈山鬼〉，蓋可宣佈中國雛型小戲於此成立，其年代，距今二千五百餘年。application/pdf1060005 bytesapplication/pdfzh-TW戲劇戲曲大戲小戲八蜡方相氏九歌山鬼總仙倡烏獲扛鼎巴渝舞古掾曹鄭叔晉婦文康樂天台山伎慈潛忿爭東海黃公歌戲遼東妖婦蘭陵王蘇莫遮弄孔子魏王掠地皮知訓使酒罵座繋囚出魃三教論衡鴻門宴尉遲恭戰突厥DramaChinese Traditional OperaGrand PlaySmall Playjournal articlehttp://ntur.lib.ntu.edu.tw/bitstream/246246/2006121215550742/1/116001831431744049516.pdf