現存元代度脫劇研究

Research on Contemporary Traditional Chinese Yuan Dynasty Dutuo Liberation Opera

董怡均(Yi-Chun Tung)

指導教授 ： 曾永義

國立臺灣大學/文學院/中國文學研究所/碩士(2009年)

https://doi.org/10.6342/NTU.2009.02837

摘要

元代是個既開放又封閉的時代。它的開放，表現在對宗教的寬容；而封閉，則表現在其種族階級歧視政策上。故在這一個特殊的時代裡，原本只活躍於民間的戲劇開始受到文人的重視，眾多文人為逃避現實環境中的不得志而轉身將自我沈浸於戲曲的創作中。加上當時社會黑暗，貪官污吏橫行，百姓亦生活於水深火熱的痛苦之中，遂開始將心靈寄託於宗教以尋求解脫。在此多種因素的融合下，元代的宗教類雜劇創作因而大量勃興，內容更以搬演神仙下凡度脫凡人以寄寓當時文人和百姓內心渴望的度脫劇為大宗。本論文之研究內容即在探討元代度脫類型雜劇的各個面向，試圖從宗教、文化、文學藝術、戲劇演出和文人創作心態的多重角度出發，深入分析此類盛行於元代的度脫類型雜劇其內部更深層的意義。
本文第一章主要探討關於元代「度脫劇」的名義範圍並針對度脫劇的固定劇情架構模式做出分析。
第二章則透過宗教的角度，認為度脫劇中除反映大量勸人戒除酒色財氣以成仙證真的全真道教義外，尚隱含諸多宗教意涵於其中。包括：道教思想由外丹學向內丹學的轉變痕跡；劇中神仙人物師徒傳承所反映出的道教神仙譜系與劇中佛道思想、人物混雜反映出當時民間信仰的駁雜。
第三章則藉由文學與藝術的角度闡述關於劇中豐富的神仙文學想像、極具戲劇張力度脫手法和道情曲藝為何於雜劇中轉以五、七言的形式出現？這轉變的脈絡又是如何？此外，科諢於戲劇中除具娛樂演出的功能外，在度脫劇裡，更有融入釋道內容來「打諢通禪」的表現。
　　第四章則藉由分析元代政治措施、社會環境著手，從文化層面來探討當時文人大量撰寫度脫劇之原因。除寄寓自身渴望超凡脫俗的思想於雜劇創作中外，實還隱含有當時文人或仕或隱心態的矛盾與掙扎。透過分析當時文人此種自我內心的衝突矛盾來闡釋戲劇所反映的時代精神。

關鍵字

元雜劇 ； 度脫劇 ； 全真教 ； 道情 ； 打諢通禪

並列摘要

The Yuan dynasty was a period of intense contradictions between openness and intolerance. The spirit of openness, reached its highest expressions in tolerance for religious freedom; intolerance however was manifest in the social stratification on the basis of ethnic and national origins, and discriminatory policies. It is thus during those unique times, that what had originally been an art form prominent among the common people, suddenly began to receive the attention of the literati, many of whom sought an escape from the pressures and frustrations (especially the lack of opportunity to join the civil service because the civil service nationwide exams had been essentially banned) of their day to day lives through the escapism offered by retreat into the creative processes of composing and writing traditional operas. Adding to these motivations was the thoroughgoing lawlessness of the society and wanton corruption of officialdom and the bureaucracy, as the people lived a tormented life of uncertainty and desperate struggles to survive, naturally they sought to place their hopes for a better tomorrow in the comforting prospects of spiritual emancipation through faith. This multiplicity of factors synergized to yield the explosive growth in Yuan Dynasty opera creation, much of which emphasized the Taoist Dutuo religious themes of common concern to the ordinary people as to the literati seeking a means of expression for their desire for liberation through the guiding protection of the immortalized Taoist saints. This paper studies the lyrical content of the Yuan Dutuo opera style, as it developed in all of its aspects, applying multi-perspectival lens examining this popular religious art from the point of view of religious faith, culture, the literary arts, the operatic performing arts, and the deep motivations of her literary creators, to gain a profound understanding and appreciation of the deep structural meaning of Yuan Dynasty Dutuo opera.
The first chapter focuses on the conceptual definition and breadth of the repertoire of Dutuo Liberation Opera as well as analysis of its structural formalism.The second chapter examines things from the religious perspective, revealing the Dutuo opera thematic contents to be derived from the All True Taoism (Chuan Chen Taoism, Quanzhen Taoism, Zensha-Kyo ) ideologies regarding elimination of destructive human vices such as alcoholism, sexual immorality, and ostentatious living, through a contented simple life to yield salvation, showing that the operas contain a wide variety of popular theological concepts. Among these are included the footprints of the metamorphoses of the Taoist emphasis on the external martial arts to the inner meditative arts; and the themes of religious succession, dissent and legitimacy among authentic religious communities, as revealing the Taoist sectarian strife amidst Buddhist denominational divergence and the complexity of popular faith.The third chapter looks at the literary and arts expressions of the richly varied imagery of the immortal saints, and why the operatic aims to impart the means of emancipation through Taoist chanting are transformed into the literary forms of five and seven Chinese character religious and moral aphorisms? Additionally, besides the comedic role of buffoonery in opera, this aspect of the operas reveals the profound depth of the Tao of Laughter.The fourth chapter emphasizes the political and social environments against which the Yuan Dynasty culture was developing to explain the prominence of the literati class’ creation of Dutuo liberation librettos. Naturally while no doubt these works represent the intense personal struggles of their authors to engage and transform their innermost desires for freedom, they also manage to serve as the treasure chest vaults in which were hidden away the contemporary literati and intelligentsia’s contradictions and sense of frustration. Through analysis of the private and personal inner struggles of the literary classes to overcome their powerlessness against raging contradictions we hope to elucidate the spirit of the age as distilled from the liberation opera.

並列關鍵字

Yuan Dynasty Opera ； Dutuo Opera ； Taoist Chating ； Taoist Meditation

參考文獻

卿希泰：《中國道教史》第二卷（台北：中國道統出版社，1997 年）。

卿希泰：《中國道教史》第三卷（台北：中國道統出版社，1997 年）。

鄭振鐸：《中國俗文學史》（上海：上海書店，1984 年）。

李豐楙：〈由常入非常——中國慶典中的狂文化〉，收於《中外文學》

李豐楙：〈傳承與對應：六朝道經中「末世」說的提出與衍變〉，收