《萬壑清音》之淨腳散齣及其流傳變異

止雲居士選收傳演於明末的崑劇北曲折子68齣，彙為《萬壑清音》，於明代天啟四年（1624）刊行。其中明題為淨腳戲的折子有6齣，即《三國記．單刀赴會》、《西遊記．諸侯餞別》、《還魂記．冥判還魂》、《歌風記．垓下困羽》、《曇花記．凶鬼自嘆》、《明珠記．城下覓音》。在各齣中，主唱淨腳分別扮飾紅面關羽、蝴蝶狀花臉胡判官、黑臉項羽、藍面盧杞，及戰亂中無名的守門官。此外，《萬壑清音》另有不標主唱腳色行當的《金貂記．敬德裝瘋》、《西廂記．惠明帶書》，這兩齣至今仍流傳於崑劇舞臺，主唱北套的尉遲恭和惠明和尚皆由淨腳扮飾，是非常典型的淨腳折子。在這些齣目中，淨腳塑造的人物，不論為王為相，或為歷史英雄、地府神靈，甚至是權奸惡臣、無名小人物，都各有特色。北套由生、旦擔綱任唱尚且吃力，何況是發聲法特殊，又要展現武功、架子氣勢的淨腳來主唱，此類散齣能流傳極為不易，更見折子戲鍛鍊腳色行當舞臺演技藝術性的特殊意義。本文探討《萬壑清音》上列8齣折子戲真正出處，及其與原劇的關係，分析各齣在明清時期的流傳、發展、演變，甚至消亡，觀察《萬壑清音》凸顯人物性格的整編工夫，及其在戲曲發展史上的意義。

關鍵字

《萬壑清音》；折子戲；淨腳；北曲；崑劇

並列摘要

Zhiyun collected 68 titles of Kunqu zhezi plays from the Northern drama, performed during the late Ming dynasty. These were compiled into a collection named Wan-huo Voices, published in the fourth year of the Tianqi era (1624). Among these, six plays are designated as jingjiao zhezi plays, namely "Records of the Three Kingdoms: Single sword meeting," "Journey to the West: Imperial farewell for the westward journey," "The reincarnation record: Judgment and reincarnation," "The wind song record: Desperation at Gaixia," "The blossom record: Self-lament of the evil ghost," and "The pearl record: Searching for sound below the city." In each play, the main jingjiao roles were portrayed by characters such as the red-faced Guan Yu, butterflylike flower-faced Judge Hu, black-faced Xiang Yu, blue-faced Lu Qi, and an unnamed gatekeeper in a war-torn setting. Additionally, Wan-huo Voices includes plays that do not specify the main role's classification, such as "The golden mink record: Jingtang feigning madness" and "The west chamber record: Huiming carrying the book," where the main roles of Weichi Gong and monk Huiming were performed by Jingjiao actors. These two are typical jingjiao zhezi plays and remain popular in Kunqu. In these plays, regardless of their status as kings or ministers, historical heroes, underworld deities, corrupt villains, or unnamed minor characters, each jingjiao role was distinctively portrayed. In the Northern style, even the primary roles of sheng and dan are challenging to perform the singing, let alone those roles requiring specialized vocal techniques and the demonstration of martial skills and a commanding presence, as seen in the jingjiao roles. The survival of such scattered plays is remarkably challenging, underscoring the unique significance of artistic training in role-specific stagecraft for zhezi plays. This article investigates the original sources of the abovementioned eight zhezi plays, their relationship with the original dramas, and analyzes their transmission, development, and evolution during the Ming and Qing dynasties, including some that have vanished. It also examines how Wan-huo Voices highlights character traits through compilation and its significance in the history of Chinese opera.