祁麟佳《錯轉輪》的結構特色與思想意蘊

Structural Features and Ideological Implications of Qi, Lin-Jia's Wrong Turning

陳貞吟(Zhen-Yin Chen)

《高雄師大學報：人文與藝術類》 40期 (2016/06) Pp. 45-65

摘要

《錯轉輪》在關目情節上，別具特色。劇中主角能穿越陰陽兩界，在元明雜劇劇本中，這是僅見的題材，與今日流行穿越劇，有相似的表現手法。該劇以北曲聯套為音樂基礎，但在體製結構有不同於前人的變化，如：楔子與開場詞並用，是明雜劇所僅見；楔子用【清江引】曲五支，是明雜劇最多的一例；般涉調獨立組套；這些都是《錯轉輪》與眾不同的結構特色。劇中所議論的君臣、朋友之義、人子之孝，都是祁麟佳創作此劇所要傳承的精神思想，有作者強烈的文人意識。

關鍵字

明雜劇 ； 祁麟佳 ； 錯轉輪

並列摘要

In terms of the plot, Wrong Turning is unique; key roles can cross borders of yin and yang; in the plots of the plays in Yuan and Ming Dynasties, it is the only one subject matter, which has similar structure practices as current popular ＂go-through drama.＂ The music of this play is based on the northern melody kit, but there is a change in the institutional structure compared to those of its predecessors; for example, the prologue and opening are used coherently, which was only found in Ming Dynasty; the prologue used five pieces of ＂Qing Jiangyin＂ melody, the sample of which is the most among the miscellaneous drama in Ming Dynasty; independent ＂Banshe＂ tone kits are distinctive architectural features in Wrong Turning. The meanings and implications related to the monarchs, friends, and filial piety of the son are all the thoughts that Qi, Lin-Jia intended to inherit while creating this play, with the strong literati consciousness of the author.

並列關鍵字

Miscellaneous drama in Ming Dynasty ； Qi ； Lin-Jia ； Wrong Turning

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