論唐滌生粵劇《帝女花》及《再世紅梅記》對明清傳奇以外之構成元素的運用

香港既有的戲曲（粵劇），研究集中在文本或音樂結構的分析，對戲曲表演形式、舞臺詮釋相對缺乏。對於戲劇文本的研究多以上溯文學傳統脈絡的方法，標示其文學性與歷史性以彰顯其「文化」及「藝術」價值。對橫向的劇種劇目移植、借鑒，表演程式、排場挪用未予足夠的重視與認同。如此不免忽略了戲曲作為表演藝術的民俗性及傳播特質，也輕慢了當時的社會氛圍與文化環境對「創作」的影響。雖然在唐滌生劇目的相關研究中多圍繞明清傳奇「原著」之改編。其實唐氏這些明清傳記改編的作品中有著不少源於其他劇種劇目的情節、場面安排，「原著」只是素材之一。即便是唐氏個人作品之中的形、神也互相交涉、滲透與重疊。戲曲的研究除文學性，也應注意場上的操作以及其與其他劇種劇目的文互關係。本文將以《帝女花》及《再世紅梅記》為例，於各章分別析論劇作中來自「原著」以外的元素，包括從其他劇目挪借與轉化的主題和表演設計，意圖尋找唐滌生創作的方式，以及當時社會環境及社交對唐滌生創作的影響，再探為何後來香港粵劇的編劇雖云「遵從唐滌生的創作路向」，成就卻遠有不及。

關鍵字

唐滌生；粵劇；帝女花；再世紅梅記

並列摘要

Majority of Xiqu (Cantonese Opera) researchers in Hong Kong focused on the analysis of text and musical context with a lack of effort on Xiqu performance and theatrical interpretation. Research about Cantonese opera’s plays usually concentrate on their relationship with traditional literature, in order to highlight their value of culture and art by highlighting their literary and historical meaning. With a lack of recognition and study on influence and elements from other plays and performance of the same era, this unavoidably led to overlooking on the side of Xiqu as an public performance have it’s only cultural and spreading characteristics. Although most study on Tang Di-sheng’s various Xiqu works focused on the “original script” of Ming Qing Chunqi, it was only part of his source for his own script. Beside the “original script” it can be found that a lot of Tang’s scripts have considerable amount of scenes and plots originated from other Xiqu play of different story, and among scenes of some of Tang’s own script they actually shows similar characteristics or performance similarity. Thus, besides comparing the literature and cultural side, study on Xiqu should also focus on their relationship with other type of Chinese Opera performances. This study use Dinu hua and Zaishi hongmei jì as an example and studies on each chapter about the factors affecting Tang’s creation beside the “original script” including plotting and design of performance, hoping to depict the way Tang used to write his own script, how the social environment affect his script and why script writers after Tang can’t match his success even they claimed to be “following Tang’s creation path”.