京劇《碰碑》、《南天門》中的度脫與救贖－精神醫學與觀眾心理的探索

本文從精神醫學與觀眾心理的角度，探討京劇《碰碑》與《南天門》的度脫情節與救贖意義。精神醫學是研究心理疾病的診斷、治療、預防，以促進全體人類之健康的一門醫學，為了探究心理疾病在社會文化中的意義，少數精神醫學家也對於表演藝術作品進行分析。在《碰碑》劇中，作為「被度者」的楊繼業盼救兵不至，人馬凍餓、弓折弦斷，步步體現了臨終憂鬱（terminal depression）特有的深刻內涵，而「救度者」蘇武鬼魂一再激發主角的焦慮，其實是扮演治療師的角色。《南天門》描述老僕曹福保護小姐出逃，大雪紛飛之際，他脫下衣服讓小姐禦寒，但自己卻失溫而死。清末北京劇壇演出《南天門》時，可能較強調救贖意義，其架構是男性透過「為女性客體勇敢犧牲」而改變退藏的自我。《碰碑》與《南天門》最後的「成神」情節，提供了一個可以進行補償的新框架（reframing），讓觀眾調降負面情緒。以傳播學理論對這兩齣戲做綜合分析，顯示了觀眾心理的情緒面向與認知面向，以及情緒跟認知的交互作用。

關鍵字

戲曲；心理疾病；憂鬱；男性犧牲；情緒調節

並列摘要

The aim of this paper was to study the contents and meanings of dutuo and salvation in the Beijing opera Peng-Bei (Tragic Monument in Yang's Saga) and Nan-Tien-Men (South Heavenly Gate) from the perspectives of psychiatry and audience psychology. Psychiatry is a branch of medicine in the diagnosis, treatment and prevention of mental disorders. Some psychiatrists analyzed works in performing art to understand the meaning of mental illnesses in social and cultural contexts. In Peng-Bei, Ji-Ye Yang (Old Generalissimo Yang) suffers immensely for lack of combat support and loss of manpower, war horses, and archery/weapons over military catastrophes. The step-by-step portrayal of his suffering presents a unique case of terminal depression. One Hermit Su, who provokes Yang's anxiety again and again, plays the role as a therapist. In Nan-Tien-Men, the old servant Fu Cao helps his lord's daughter escape in a snow storm. After offering his own coat to keep her warm, he freezes to death. In the late Qing dynasty performances of Nan-Tien-Men, the meanings of salvation might have been emphasized with the framework of changing the detached male ego through ＂masculine sacrifice for a female.＂ The finales of Peng-Bei and Nan-Tien-Men, depicting the protagonists' souls ascending to the Chinese Pantheon, suggest a brand new reframing for psychological compensation. Thus, the audience could down-regulate their negative emotions. In this paper, these emotion-cognition interactions in audience are discussed in terms of communication theories.