論明代宮廷演劇－以《脈望館鈔校本古今雜劇》教坊劇為討論範圍

The Discussion of the Operation of Drama in Palace: Take the Jiao Fang Ju ＂Mo Wang Guan Chao Jiao Ben Gu Jin Za Ju＂ as Example

林立仁(Li-Jen Lin)

《通識教育學報》 2期 (2014/12) Pp. 117-158

https://doi.org/10.6517/MCUT2014.DEC-06

摘要

明代是一個上自帝王、士大夫下至市井小民都對戲劇充滿喜好的朝代，作家輩出，作品豐碩，是繼元代之後中國戲劇發展史上的第二個黃金時期。明代自洪武以來，即由「教坊司」和「鐘鼓司」負責宮廷演戲之事務，外朝宴饗承應之職由教坊司負責，隸屬禮部，內廷演劇則由鐘鼓司祗應，所演戲劇多由教坊司負責編排。至於教坊劇劇本，可見於明‧趙琦美所輯《脈望館鈔校本古今雜劇》中，這是我國古代最大的一部戲曲總集，收錄元明雜劇242 種（重複二種），其中有十八本標示「本朝教坊編演 鈔本」，剔除與周憲王《誠齋雜劇》重複之《河崧神靈芝慶壽》及竄改《群仙慶壽蟠桃會》而成之《眾群仙慶賞蟠桃會》兩本之外，尚餘十六本，即今現存可見之明代教坊劇本，列之於下：《寶光殿天真祝聖壽》、《祝聖壽金母獻蟠桃》、《降丹墀三聖慶長生》、《眾神聖慶賀元宵節》、《爭玉板八仙過滄海》、《慶豐年五鬼鬧鍾馗》、《紫微宮慶賀長春節》、《賀萬壽五龍朝聖》、《眾天仙慶賀長生會》、《賀昇平群仙祝壽》、《廣成子祝賀齊天壽》、《感天地群仙朝聖》、《祝聖壽萬國來朝》、《慶千秋金母賀延年》、《慶冬至共享太平宴》、《黃眉翁賜福上延年》。教坊劇，因其演出場合與創作目的多為內廷承應，劇作雖有著富麗堂皇的熱鬧排場，卻少了戲劇源自於民間的機趣橫生，也不像元雜劇展現鮮活的時代特色，更非魏良輔改革崑山腔之後的傳奇般典雅精緻，因此，歷來對宮廷劇作的研究，相對戲曲其他領域而言是較少的。故此，筆者本文以明代宮廷演劇為題，上述十六本教坊劇作即為所據文本。先述「教坊司」和「鐘鼓司」之職責，再論教坊劇之題材運用與情節安排，接著探討教坊劇之體製特色與舞臺藝術，進而對教坊劇作一較全面之評述。

關鍵字

明代宮廷演劇 ； 教坊劇 ； 趙琦美 ； 《脈望館鈔校本古今雜劇》 ； 《孤本元明雜劇》

並列摘要

Ming was a dynasty when drama was beloved by everyone from the emperor to the people. The writers came out in succession so that the compositions were abundant. It was the second golden times of the development of Chinese drama after Yuan dynasty. During Ming dynasty, the ＂Jiao Fang Si＂ and the ＂Zhong Gu Si＂ had been in charge of the operation of drama in the palace since the times of ＂Hong Wu.＂ The scripts of ＂Jiao Fang Ju＂ can be found in ＂Mo Wang Guan Chao Jiao Ben Gu Jin Za Ju,＂ written by Zhao Qi Mei in Ming. It was the most complete portfolio of drama in ancient China, including 242 types of Za Ju of Yuan and Ming (2 of them were repetitions), with 18 of them marked ＂Ben Chao Jiao Fang Bian Yan Chao Ben.＂ After excluding repeated and falsified ones, there were 16 left. They had become the scripts that can be seen today. The operation of Jiao Fang Ju, which was composed for the royalty, was gorgeous but deficient of the wit from the folk, unlike neither the Za Ju of Yuan that was famed of vivid features of the times, nor the Kun Ju which was delicate. Therefore, the investigation into the drama for the royalty was scarce in comparison with the other domains of drama. The writer of this paper will explore the operation of drama in the palace of Ming dynasty , focusing on the 16 scripts metioned above. The researcher will firstly portray the duties of the ＂Jiao Fang Si＂ and the ＂Zhong Gu Si,＂ discuss the utilization of subject matters and the arrangement of storylines, and then investigate the structure and the stage art of Jiao Fang Ju. Finally, a more comprehensive analysis and commentary on Jiao Fang Ju will conclude the discussion.

並列關鍵字

the operation of drama in palace ； Jiao Fang Ju ； Zhao Qi Mei ； Mo Wang Guan Chao Jiao Ben Gu Jin Za Ju ； Gu Ben Yaun Ming Za Ju