表演自覺．自我指涉．感知接受：宋元戲曲的「後設」展現

Performing Self-awareness, Self-reference, and Perception: The Meta-Representation in the Xiqu of Song-Yuan Era

陳芳(Fang Chen)

《戲劇學刊》 28期 (2018/07) Pp. 7-28

摘要

戲劇故事要怎麼說？說什麼？自古至今，各個時代都有各自的敘述策略與關懷內容。1963年，亞伯（Lionel Abel）提出「後設劇場」（metatheatre）一詞，開啟了當代學界對於戲劇結構的熱烈討論，但以後設視角和理論研究古典戲曲者卻極少。事實上，從《張協狀元》以降，戲曲中即有不少反映和表現社會生活的深刻諷刺，使之形成生活自身的隱喻，看見世界幻象或虛偽的作品。亞伯認為只有西方文化能創造、改良出後設劇場這種戲劇形式，顯然不確。「後設」策略在中國傳統劇場中究竟意義何在？能達成什麼樣的效果？而歷代不同體製劇種又如何藉此指涉？都值得深思。限於篇幅，本文擬先檢視宋、元戲曲是否以及如何運用後設元素，在形式和內容上觀照人生與現實，兼及戲劇的各個層面。

關鍵字

戲曲 ； 後設 ； 角色扮演 ； 儀式

並列摘要

What should a story tell in a play? How should it be told? From ancient times to present days, different eras have different narrative strategies and issues concerned. Since Lionel Abel introduced his coined term ＂metatheatre＂ in 1963, contemporary discussions about theatrical structures have abounded. Yet, studies of classic Xiqus from the meta-perspective remain relatively limited. In fact, from Zhang Xie Zhuang Yuan onwards there have already been quite a few Xiqus that reflect and express profound sarcasms about social life, which form selfreferential metaphor of life and explode illusions and hypocrisies prevailing in the world. Abel claims that only Western culture is capable of creating and advancing theatrical forms like metatheatre, a statement which is not true. Then, what does ＂meta＂ means to Chinese traditional theatre? What effects can it achieve? How does it make the self-referential operation in Xiqus of different eras? Due to the brevity of this paper, the investigate will focus on these Xiqus in Song- Yuan Era and examine whether and how they employ meta elements to illuminate life and reality with their styles and subjects.

並列關鍵字

Xiqu ； meta ； role playing ； ritual

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