作者入戲　尋找崑曲

本論文以「作者入戲，尋找崑曲」爲題，探討崑劇由前世轉入今生之後，如何在當代追尋本色之路。一九五六年《十五貫》一齣戲救活一個劇種之時，板腔體的京劇早已成為第一大劇種，復活後的崑劇不僅表演受到京劇影響，劇本的敘事結構亦被京劇滲透，《十五貫》可稱爲「新結構觀」的代表。崑劇救活之後，找回崑劇本色成爲當務之急，本文歸納為三種作法：其一，以「謹守音樂格律」作爲展現崑劇正宗的不二法門；其二，從敘事結構着眼，全本復原的《牡丹亭》《長生殿》等長篇巨帙，展示屬於崑劇傳奇的傳統「點線串珠」結構，以別於《十五貫》以降與板腔體互滲的新結構；其三，不強調結構的古與新，除了謹遵格律，最重要的是找回崑劇的「氣韻意境」。本論文以第三種爲重點，以中國大陸當代劇作家張弘、羅周的四部劇作為例，分析其如何借鑒古典、搜抉靈根，找回專屬於崑劇的「氣韻意境」。這四部戲正好皆有「作者入戲」，一旦有作者入戲，劇本便適於設置兩層時空，展開三層對話；即古劇的文人作者，劇中人物，及新劇作者之間的對話，正可發揮崑劇「潛入內心、勾抉幽微」的優勢。

關鍵字

羅周；新崑劇；張弘；浮生六記；春江花月夜

並列摘要

Kun Opera (崑劇) had been reborn since 1956. The playwrights of Kun Opera try their best to find it's features back in modern Times. The playwrights of Kun Opera use three ways to do this. The first way is following metrical pattern of traditional Kun Opera in the plays. The second way is restoring narrative structure of traditional Kun Opera in the plays. The third way is retrieving the artistic conception of traditional Kun Opera in the plays. This paper will study how did Zhang Hong (張弘) and Luo Zhou (羅周)'s four plays retrieve the artistic conception of traditional Kun Opera. The plots of the four plays were adapted from the scripts of traditional Kun Opera, or other kinds of Chinese literature. But Zhang Hong and Luo Zhou made the original author be a character in their plays. So, playwrights in Modern times, authors in ancient times, and all characters in their plays, could express their opinions at the same time. That's how Zhang Hong and Luo Zhou retrieve the artistic conception of traditional Kun Opera in their plays.