2015-08-012024-05-18https://scholars.lib.ntu.edu.tw/handle/123456789/710604摘要：本計畫意欲開拓清代「白蛇戲曲」傳衍、改編過程中一條「失落的環節」。在現存清代文人本傳奇《雷峰塔》的序跋語中，潛藏了一股「伏流」，即所謂「梨園本」／「伶人本」之線索。本計畫將從2010-2014年出版的幾部大型戲曲文獻彙編中，挖掘屬於白蛇戲曲「梨園本」的蹤跡，並將著重考察現藏海外的兩部梨園鈔本（殘本《稱心緣》及《後雷峰塔》）在形式、內容、思想等方面的異同。筆者以為，清代白蛇戲曲之敘事改編有兩條徑路，一是文人觀點的改編，一是藝人觀點的改編。本計畫將從眾家「梨園本」蹤跡，追溯藝人觀點的面目及其傳承脈絡，並與已知的「文人本」相互對照，試圖尋覓「梨園本」在清代白蛇敘事傳播中的地位，及其作為「伏流」之外，是否在一定程度上，影響了後世各種文類／劇類／藝類改編「白蛇故事」的主題、思想與結局。<br> Abstract: This project is proposed to investigate a “lost inheritance” underlying the extant texts of White Snake Drama in Qing Dynasty. In my opinion, there was an undercurrent beneath the literati’s adaptations in Qianlong period, because in their prologues and epilogues they admitted to consult and adopt their contemporary prevalent “actors’ scripts” (Liyuan ben 梨園本). This project will start from digging out these “actors’ scripts” according to some compilations of Chinese Traditional Drama Resources from 2010-2014, and then observe two important Qing manuscripts of White Snake plays titled as Chengxin yuan 稱心緣 (The Satisfactory Wish) and Hou Leifeng ta後雷峰塔 ( The Sequel of Thunder Peak Pagoda), which were collected in overseas libraries. There were two ways of adaptation on the White Snake plays/narratives in Qing period; one, coming from the viewpoints of the literati, while the other coming from the viewpoints of actors’ interpretation. This proposal will trace the texts/contexts of “actors’ scripts”, and compare its differentiae with known literati revisions in order to confirm the role these actors’ scripts played in the dissemination of White Snake plays, as well as its impacts on later modern/contemporary adaptations in literary genres, theatrical performances or films.白蛇戲曲雷峰塔稱心緣梨園本文人本White Snake playsLeifeng ta (Thunder Peak Pagoda)Chengxin yuan (The Satisfactory Wish)actors’ scripts (Liyuan ben)literati plays