「林冲夜奔」本事從小說到傳奇、崑曲和北管戲曲的適應與演變

The Adaptation and Transformation of the Story of 「The Midnight Rush of Lin Chong」from Novel, Chuanqi, Kunqu, to Beiguan Theatre

賴瑋君(Wei-Chun Lai)

指導教授 ： 簡秀珍

國立臺北藝術大學/音樂學院學術論文/傳統音樂學系碩士班演奏組/碩士(2013年)

https://doi.org/10.6835/TNUA.2013.00130

摘要

從歷史、筆記與傳說淬鍊而來的章回小說《水滸傳》被評為六大才子書之一，其中最富悲劇英雄色彩的角色是林冲，小說中曲折離奇的情節敘述，使得劇作家對此青眼有加。明朝文人李開先與他人以《水滸傳》中對林冲的描述為藍本，加以改編後寫成傳奇《寶劍記》。本傳奇完成於嘉靖二十六年（1547年）前，彼時海鹽腔在富紳貴冑之間頗受歡迎，因此推測文人寫就的《寶劍記》，當時應是以海鹽腔演唱的。另外，根據沈寵綏的記錄，明代也曾將《寶劍記》第三十七齣獨立出來以絃索演唱，取名〈投泊〉。
　　《寶劍記》第三十七齣敷演林冲蒙難，星夜投奔梁山時於途中古廟稍歇，受伽藍神指引後再度踏上逃難之路的故事。此齣描寫林冲有冤難伸、只能在逃難途中宣洩滿懷的憂思仇恨，文藻優美、曲牌動聽。後人著意改寫成折子戲，為崑曲保留下來，喚作〈夜奔〉，與原《寶劍記》只有些許差異。而流行臺灣民間的北管戲曲亦有〈夜奔〉與〈新夜奔〉，但只保留了「林冲夜奔」的本事輪廓，用字遣詞以及板腔體演唱方式，與流行於文人階級的曲牌體《寶劍記》和崑曲〈夜奔〉截然兩樣。
　　從小說到傳奇、崑曲和北管戲曲，「林冲夜奔」本事呈現不同的風貌，無論是細微調整還是大加修改，皆有使其更符合觀眾期待的原因。

關鍵字

夜奔、寶劍記、崑曲、北管戲曲、《水滸傳》

並列摘要

The serial novel “All Men Are Brothers”, developed from historical events, notes, and legends, was included as one of the Six Books Written by Six Talented Literators, in which Lin Chong is the most tragic hero. The intricate plots in the novel have appealed to many playwrights. Lee Kai Shian, a literator in the Ming Dynasty, adapted from the description of Lin Chong in “All Men Are Brothers” and made it a kunqu called “The Story of Treasured Swords.” The kunqu was accomplished before AD.1547 (the 26th year in the Jia Ching period of the Ming Dynasty). At that time, the music of Haiyan(haiyan qiang, 海鹽腔) was very popular with the gentry; therefore, “The Story of Treasured Swords” was very likely written in the music of Haiyan. Furthermore, according to the record of Shen Chong Suei, the 37th episode in “The Story of Treasured Swords” used to be isolated and performed with string musical instruments in the Ming Dynasty. This isolated play was called “Heading for the Liangshanbo.”
　　The 37th episode in “The Story of Treasured Swords” develops the story of Lin Chong resting shortly in an ancient temple on his way to the home base on the Liang Mountain and, after being instructed by God Jia Lan, setting on foot again the heading toward his destination. This play describes Lin Chong as being misunderstood and having no opportunity to explain, so he cannot but relieve all his concerns and regrets while rushing to the Liang Mountain. The diction in this play is elegant and the music is touching. Literators later on adapted it into a single scene play(Zhezixi, 折子戲), which was in turn retained in Kunqu and was called “The Midnight Rush,” in which there was only little difference from the 37th episode in “The Story of Treasured Swords.” In Beiguan theatre, which used to be popular with the general public in Taiwan, there were also the plays of “The Midnight Rush” and “The New Midnight Rush;” however, their stories just partially retained the story of “The Midnight Rush of Lin Chong;” in addition, the diction and the banqian (板腔) musical style were completely different from those of “The Story of Treasured Swords” and “The Midnight Rush” in the Kunqu version, which were both sung in chupai(曲牌) musical style loved by the gentry of that time.
　　From a novel, Chuanqi, Kunqu, to Beiguan Theatre, the story of “The Midnight Rush of Lin Chong” has been presented in various styles and features. No matter it was only adapted a little or greatly modified, it was all for meeting the expectation of the audience.

並列關鍵字

“The Midnight Rush”, “The Story of Treasured Swords,” Kunqu, Beiguan Theatre, “All Men Are Brothers”

參考文獻

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