祁彪佳《遠山堂曲品》、《遠山堂劇品》之語境與論述觀照研究

A Reflection and Reasearch on the Context and Discourse of Qi-Biao-Jia's Yuan-Shan-Tang-Qu-Pin and Yuan-shan-Tang-Ju-Pin

石牧民(Mu-Ming Shyr)

指導教授 ： 陳芳英

國立臺北藝術大學/戲劇學院/戲劇學系碩士班理論組/碩士(2005年)

摘要

作為藏書家之子並且生活於明、清之際的祁彪佳，終其一生都在處置意義與價值
系統的紊亂與潰散。而祁彪佳與其父的藏書、目錄學的生命底蘊則轉化為其人行止與
著述的基本隱喻一對於失措、失所於世界與知識之廣裹的拒斥。換言之，也就是運用
目錄學的結構系譜去規避作為此一世界之常態的，意義與價值的紊亂與潰散。而在祁
彪佳其人的著作中，《遠山堂曲品》、《遠山堂劇品》則是前述隱喻最具重要性的具體
表現。
《遠山堂曲品》、《遠山堂劇品》不只是詳盡的傳奇、雜劇之劇目，更且反映了祁
彪佳對於其當代戲曲創作與演出之理念。甚而，《遠山堂曲品》、《遠山堂劇品》作為
某種「空間」與「場域」，蘊含著祁彪佳所施予劇作的評驚與論述。而此一收納評罵
與論述的「空問」或者「場域」作為一種形制，表徵了文本與讀者的遇合、或同一或
異質理念的遇合，更有甚者，尚且表徵了「讀者」與「作者」的遇合。同時，《遠山
堂曲品》、《遠山堂劇品》的形制更與祁彪佳生命的基本隱喻在結構上不謀而合。
就祁彪佳而言，擘建一個目錄學的系譜，也就是將特定而適切位置賦予任何一本
給定的藏書、任何一個給定的意義、任何一個給定的價值，就《遠山堂曲品》、《遠山
堂劇品》而言，亦即是任何一個給定的劇作。而個別的位置則會是相互聯屬的。祁彪
佳經由《遠山堂曲品》、《遠山堂劇品》之書寫試圖確立的是，任何一個單一物件唯有
經由與其它物件之聯屬而得以獲致其自身穩固、完足的意義。設若物件之間皆各自獨
立而不相聯屬，一個物件勢必要失落它被識取、被指稱的可能。而那也就是所謂意義
的紊亂與潰散。
簡言之，祁彪佳繼承自乃父的，藏書與目錄學的生命隱喻、對於失措、失所於世
界與知識之廣裹的拒斥以及祁彪佳自身與《遠山堂曲品》、《遠山堂劇品》之評驚與論
述作為遇合的「空問」或「場域」，構成了《遠山堂曲品》、《遠山堂劇品》的基本語
境。

關鍵字

none

並列摘要

Throughout his life, being the son of a bibliophile and living in the turning point
of Ming and Qing dynasty, Qi-Biao-Jia found himself dealing with the chaos and
collapse of the "meaning" and "value" systems. The bibliophile and bibliography
background of his life and his father's had become the prime metaphor of
Qi-Biao-Jia's doings and works, which is the resistance of being bewildered or lost
among the infinity of this world, or, "the knowledge". On the other hand, it is to say,
to use a bibliography structure to prevent the chaos or the collapse of the meanings
and values as a usual phenomenon of this world. Among his works,
Yuan-Shan-Tang-Qu-Pin and Yuan-Shan-Tang-Ju-Pin are the most important
realization of that metaphor.
Not only being detailed catalogs of the Chuan-Qi and Za-Ju scripts but
Yuan-Shan-Tang-Q0-Pin and Yuan-Shan-Tang-J&-Pin are also the projection of
Qi-Biao-Jia's own concepts of contemporary drama writing and performing during
his time. Moreover, Yuan-Shan-Tang-Qu-Pin and Yuan-Shan-Tang-Ju-Pin, as a
kind of "space" or "field”, contained the critiques and discourses that Qi-Biao-Jia
performed upon the scripts. And that format, critiques and discourses input in a
"space" or "field”, symbolized the confrontation of the reader and the text, the
confrontation of parallel or different concepts：even more, the confrontation of the
"Reader" and "Writer". Meanwhile, the format of Yuan-Shan-Tang-Qu-Pin and
Yuan-Shan-Tang-Ju-Pin shares the similarity in a constructive way with that prime
metaphor of Qi-Biao-Jia's.
For Qi-Biao-Jia, to program a bibliography structure is to grant a specific and
proper position to any give title, any given meaning, any given value and, speaking
of Yuan-Shan-Tang-Qu-Pin and Yuan-Shan-Tang-Ju-Pin, any given script. Those
positions are mutual-related. Through the writing of Yuan-Shan-Tang-Qu-Pin and
YUan-Shan-Tang-Ju-Pin, Qi-Biao-Jia tried to confirm that only through being
related to other objects could a single object obtain its solid, complete meaning.
Otherwise, should there be no relationship between·isolated individuals, every
single object would lose its capacity of being recognized and specified. That would
well be so called the chaos and collapse of the meaning or value system.
In short, the bibliophile and bibliography metaphor that Qi-Biao-A inherited
from his fathe「the resistance of being bewildered or lost among the infinity of this
world, the concept that Qi-Biao-Jia himself and the critiques and discourses of
Yuan-Shan-Tang-Qu-Pin, Yuan-Shan-Tang-Ju-Pin being the "spaces" or "fields"
of confrontation, formed the basic context of Qi-Biao-Jia's Yuan-Shan-Tang-Qu-Pin
and Yuan-Shan-Tang-Ju-Pin.

並列關鍵字

none

參考文獻

祁彪佳，《甲乙日曆》，《台灣文獻叢刊》第百七十九種，台北：台灣銀行經濟研究室，1969。

—，《示仔彪佳文稿》，北京：書目文獻出版社，1991。

《弘光實錄鈔》，《台灣文獻叢刊》第二百二十六種，台北：台灣銀行經濟研究室，1968。

王璦玲、華璋編，《明清戲曲國際研討會論文集》，台北：中央研究院1998

—，《紅樓夢的兩個世界》，台北：聯經，2001。