道士、科儀與戲劇―以雷晉壇《太上正壹敕水禁壇玄科》為中心

「敕水禁壇」是道教科儀的一種，目的在掃盡道壇場氛穢，禁結一切鬼祟。臺灣正一派與靈寶派「敕水禁壇」的儀式目的、演出型式大同小異，皆用於三朝以上的建醮科儀，並有繁複的戲劇動作。正一高功道士表演時有耍鐧倒旗的激烈動作，後場更需吹奏與北管戲《倒銅旗》相似的崑曲牌子。若就「敕水禁壇」的表演空間、內容、表演角色、後場、聲腔語言、身段動作，這段科儀與傳統戲劇幾乎無異，甚至可以武戲視之。但「敕水禁壇」科儀的儀式目的是為了道壇的潔淨，以此為中心，整個祭祀區域的儀式才能順利進行，因此禁止閒雜人等觀看。然而在道壇拼場中，又常被視為「打武供」，在觀眾面前公開表演，此亦反映道士的民間性，以及民間對道教科儀的親近性。本文以黃清龍「雷晉壇」《太上正壹敕水禁壇玄科》為中心，從劇場的角度討論科儀文本的內容、道士的師承傳統、角色扮演與舞臺動作、訓練方式，以及祭祀與戲劇，道士與臺灣戲劇活動的關係，藉以瞭解道教科儀以及儀式戲劇本質的基礎。

關鍵字

十牌倒旗；黃清龍；倒銅旗；亂彈戲；黃書煜

並列摘要

Chr Shuei Jing Tan (inviting Gods to purify the water and create a sacred space, 敕水禁壇) is a Taoist rite which can wipe out the dirty stuff and stop ghosts' activities at the Taoist ceremonial space. The ritual purposes and performance styles of cheng-yi sect and lin-pao sect Chr Shuei Jing Tan are pretty similar. Both are used in the Taoist religious services (chien chiao) of three days and longer, and contain complicated theatrical actions. Master Taoist priests of cheng-yi will perform the high-spirited movements of playing jien (a kind of ancient weapon) and destroying the bronze flag column. The orchestra will also play the music of fourteen Kunqu tunes which are similar to that of Beiguan play Dao Tung Chi (《倒銅旗》). In aspects of performance space, content, characters, orchestra, tunes, language, and body movements, this ritual is very similar to traditional theatre, especially a military play. Since the purpose of Chr Shuei Jing Tan is to clean the ceremonial space and facilitate the smooth progression of the whole ritual, the public is in general not permitted to witness it. However, when there is competition among different Taoist groups, this rite can also be shown as da wu kung, and performed in front of the general public. This phenomenon demonstrates the grassroots of Taoist priests, as well as the intimate connections between Taoist ritual and the folk culture. This paper will use Huang Ching-lung's ”Lei Jing Tan” Tai Shan Cheng Yi Chr Shuei Jing Tan Shiuan Ke (太上正壹敕水禁壇玄科) as a central focus. It will analyze the performance texts of the rites, master/student relationship, role-playing, stage actions, training process of the priest from a theatrical perspective. It will also investigate the relationships between ritual and theatre, Taoist priests and Taiwanese theatre to gain further insights into Taoist rites and the essential foundation of ritual performance.