流播與異變：北管〈和番〉五牌與明清曲本關係初探

王昭君出塞故事可見於不同聲腔劇種，臺灣也不乏演繹昭君故事的劇本和曲唱作品、文獻，其中，北管音樂文化圈裡有一被視為是來自「崑（腔）」系統，以「非板腔體」形式存在的唱段組合，稱為「〈和番〉五牌」。此一唱段組合可見於名為〈（大）和番〉的北管（亂彈）戲曲劇目，同時也被運用在排場清唱場合。將〈和番〉「五牌」曲辭用以比對明、清曲本，不難發現〈和番〉「五牌」與明、清古本在曲辭雖然多有疊合，然而，卻也在唱段曲牌方面難以完全對應。這個現象間接說明「曲牌（曲調）」與「唱辭文字」二者的流播未必可以同步移轉（移植）的事實。單獨以唱段曲辭進行分析考掘，以探究不同版本間的遠近關係，應是可行的分析策略。有鑑於此，本文以「〈和番〉五牌」唱辭，比對多種明、清刻本，以至民初皮黃戲演出臺本，從各版本曲辭的對應與不對應關係中，推知各個版本之間相對的脈絡遠近，並且得知：北管〈和番〉五牌曲辭雖是承繼明、清曲本而來，但在流播過程中，從曲辭的剪裁、重組等變異現象，適可見證北管〈和番〉五牌已是不同於明清曲本的、新的詮釋版本。

關鍵字

北管；亂彈戲；王昭君；和番；崑腔；皮黃

並列摘要

The story of Wang Zhaojun departing for the frontier to pacify the Xiongnu government by marriage has appeared in different melody systems and drama types. In Taiwan, many scripts, musical works, and literatures interpret the story of Wang Zhaojun. Among them, the field of Beiguan music has an aria combination in the ＂non-Banqiang style,＂ thought to be from the ＂Kun-qiang＂ system, which is known as ＂the Wu-pai (including five pieces) of 'Zhaojun hefan.'＂ This aria combination could be seen in the song lists of Beiguan (Luantan) for ＂the Hefan.＂ Not only has this combination been performed as Xi-qu but it has also been used in singing with musical accompaniment. When comparing the lyrics of ＂the Wu-pai of 'Zhaojun hefan'＂ aria combinations with woodblock-printed copies of theatrical texts from the Ming and Qing dynasties, we notice that ＂the Wu-pai of 'Zhaojun hefan'＂ overlaps with many ancient editions. However, as the titles of the arias do not wholly correspond, the spread of ＂melodies＂ (tunes) and ＂sung lyrics＂ of the arias might not have been synchronous in their transplantation. Therefore, based on the correspondence between different stage scripts and woodblock-printed copies, this article compares the lyrics of ＂the Wu-pai of 'Zhaojun hefan'＂ with woodblock-printed copies from the Ming and Qing dynasties, and with pihuang theatre scripts in the early Republican era, to assess the contextual distance and relations among various versions of ＂the Wu-pai of 'Zhaojun hefan.'＂