- 期刊
《綴白裘》之〈昭君出塞〉劇作淵源與流播
The Origin and Development of "Zhao Jun Chu Sai" Act in "Zhui Bai Qiu"
摘要
王昭君故事自漢代流傳至今，搬演昭君故事的戲曲亦盛演不衰，崑劇、京劇、川劇、贛劇、北管、高甲戲等皆有此一劇目，尤其〈出塞〉一齣。本文以清乾隆三十五年（1770）出版的戲曲選本《綴自裘》之〈昭君出塞〉為核心，嘗試從明代中晚期戲曲劇本及散齣選本探討此一演出本的淵源，並據清代中葉的抄本及曲譜探討其流播情形與演出曲調。目前明代可見最早的昭君戲曲，為嘉靖年間《風月錦囊》所收的兩套曲文，此外尚有萬曆年間刊行的《和戎記》傳奇、晚明七個選本收錄〈昭君出塞〉，其中較特別之處為加入了時興的「滾調」唱法，並且增加了末、淨、丑等腳色來豐富情節，由這些作品可以尋得《綴白裘》之〈昭君出塞〉劇作的淵源。在清代中葉，根據目前可知的演出木，這齣戲被歸入「時劇」，演唱的是一種「時興曲調」，這種曲調既非某一聲腔，亦不專屬某一劇種。清中葉以降，〈昭君〉以「時興曲調」演唱有三種情形：一是以弦索伴奏，唱時興曲調（即《太古傳宗弦索調時劇新譜》所錄）。二是仍唱此時興曲調，但改以笛子伴奏（應即《納書楹曲譜》所錄）。三是仍以笛子伴奏，但其中加入了更為時興的曲調—吹腔（可見於清宮昇平署總本）。後兩種演出情形至今仍在傳唱，北方崑曲劇院傳承了第二種情形，上海崑劇界則是流行加入吹腔的第三種情形，與徽班、京班相同。這齣戲在表演上向以「唱殺昭君，做殺王龍，翻殺馬童」膾炙人口，至今傳唱不輟。這一變化的過程，凸顯「時劇」不斷以時興曲調或伴奏樂器傳唱的特點，且此「時興」並非一成不變，而是與時俱進的。本文從探討（昭君出塞）劇目入手，論及「時劇」在發展過程中「時興」及「變異」的特點，由此呈現清中葉地方戲興起之外的另一種劇壇現象。
並列摘要
The story of ”Wang, Zhou-jun” (王昭君) has been around for a long time. It has been put on over and over again. The story of Wang-Zhou-jun is still playing in all such operas as Kun -opera (崑劇), Peiking-opera (京劇), Chuan-opera (川劇), Gan-opera (贛劇), Bei-guan (北管), GaoJia-opera (高甲戲) etc.. One of the most famous act is called ”Zhao jun chu sai” (昭君出塞). The core of my dissertation focuses on the article ”Zhao jun jun chu” sai chosen from the book called ”Zhui bai qiu (綴白裘)”, an anthology of Chinese opera which was published in Ching Dynasty in 1770. I tried to explore the origin of the ”Zhao jun chu sai” act in ”Zhui bai qiu”, which originated from eight anthologies of Chinese opera in mid-late period of the Ming Dynasty. Besides, I studied its development and the tune according to the manuscript and score in mid-Qing dynasty.At present, the earliest ”Zhao jun” opera in Ming Dynasty is taken from ”Feng yue jin nang” (風月錦囊), an anthology of Chinese opera which was published in ”Jiajing” (嘉靖) period of the Ming Dynasty (1522-1566). Additionally, it could be found in ”He rong ji” (和戎記), a drama called ”Chuan qi” (傳奇) written in mid-Ming Dynasty. Besides, ”Zhao jun chu sai” was selected in seven antholog ies which were published in late-Ming Dynasty. In these works, two features were added to and stood out. One was the addition of the popular form of singing called ”Gun diao” (滾調), and the other was the additional roles called ”Mo” (未), ”Jing” (淨) and ”Chou” (丑), which could thicken the plot. From these works, we could find the origin of ”Zhao jun chu sai” in t he book ”Zhui bai qiu”.The script played in mid-Qing Dynasty we can find today had a lot to do with the popular form of singing, called ”Shi ju” (時劇). This performance of the act belonged neither to a certain ”Sheng Qiang” (聲腔) nor to a certain style of drama (劇種). It was performed and developed continually by different tunes and accompaniment of different musical instruments. Due to my interpretation about ”Shi ju” (時劇), I hope to present another phenomenon in Theater of mid-Qing Dynasty, except the local drama.