立基於承繼的新變： 李漁傳奇的編創手法及其演出考述

近年，李漁小說研究仍舊如過去，受到許多人關注。但，傳奇相對於小說而言，卻較少人有人關注，而主要關注之課題，又大多是劇論、曲論，非文本本身。作為一位編劇，李漁無疑是明末清初最前衛、出奇的劇作家。在政治空氣緊張、傳統禮教規範的清初，李漁的劇作遭到許多人詬病、謾罵是能夠被理解的，不過，到了當代不免會讓人思考，在諸多戲曲團體開始挖掘舊文本，並對舊文本加工、重新搬演時，卻少見李漁傳奇被今日之創作者青睞，不免讓人覺得可惜，更好奇：為何李漁傳奇如此前衛，卻無人問津？於是，本論文以前人之「分期」方法為基礎，就「文本」、「展演與傳播」為兩個主要的觀察角度，試圖叩問「李漁如何成為一位專業編劇？」更希望能夠過這一問題的探究理解李漁如何創作、創新，而他人又如何看待李漁的創作。第一章為本論文之研究動機與目的，除此之外，本論文將過去至今的李漁研究進行統整、評述，為龐大的研究文獻切出不同的時代脈絡，並歸納各時期之研究趨勢，希望能夠提供後續欲進行李漁研究之學者重要的參考基礎；第二章以「杭州時期」刊行之六部傳奇為中心，希望透過對李漁傳奇《笠翁十種曲》的分析，觀看李漁如何「承繼」，並對「敘事程式」進行「新變」。此外，第二章除透過分析觀察李漁之創作過程外，亦試圖從其創作中的承繼到新變過程建構出一套李漁個人常用的「編創手法」，並從傳奇中的技法使用理解李漁的創作目的，觀看李漁於杭州時期的創作共性；第三章由「形式」進入「內在」，以李漁於杭州時的創作累積為基礎，進一步對李漁「南京時期」刊行之四部傳奇進行分析，理解李漁在遷居南京後創作風格、手法、思想等變化。相較於「杭州時期」李漁的創作不再單純是「出新」，劇中闡發更多對道學、教化的思考，並埋藏更多個人的寄寓與對社會的關懷；第四章，從李漁傳奇的舞臺實踐與展演傳播為關照重點，以梨園本、曲譜、演出紀錄、報刊等文獻爬梳一條李漁傳奇的展演軌跡，建構李漁傳奇之展演傳播史，也理解過去到當代的觀眾如何觀看、理解李漁。總之，本論文在分期與文本個別分析的基礎上，再探李漁「杭州時期」、「南京時期」不同的風格表現與創作關懷，並透過不同的文本風格展現，擴充前人之「分期」意義，以及他者如何觀看、接受李漁傳奇，理解一位專業編劇如何創作、如何誕生。

關鍵字

李漁；傳奇；《笠翁十種曲》；敘事程式；編創手法；專業編劇；傳播；展演

並列摘要

In recent years, Li Yu（李漁）’s novels have been well discussed by researchers. His works of Chuanqi（傳奇）, by contrast, receive less attention, with some exceptions of focuses on Li’s theories of drama, music and lyrics rather than the texts. As a playwright, Li Yu was undoubtedly one of the most progressive and surprising playwrights in the late Ming and early Qing dynasty. In a society during the early Qing dynasty, particularly noted for its tense political climate and traditional Confucian values, it is known that Li Yu’s plays were criticized by many people. In the contemporary era, many Chinese opera group began to explore old texts by re-adapting and re-producing. It is however rare to see Li Yu’s Chuanqi plays to be favored. This thesis thus raises the following question: Why do today’s theater creators not care about Li Yu’s plays, even though they are so avant-garde? By asking "How does Li Yu become a professional playwright?", this thesis is concerned with an inquiry of how Li Yu creates and innovates, as well as how people read Li Yu's creation, based on the "staging" methods of previous essays, "text", "performance and communication." The first chapter is the research motivation and purpose of this thesis. In addition, this thesis integrates and reviews both historical and current researches of Li Yu by dividing different contexts of his research literature and summarizing research trends of each periods. I hope that this chapter provides a significant reference for incoming scholars in favor of conducting research on Li Yu. The second chapter focuses on the six chuanqi plays published during the "Hangzhou Period". I hope that by analyzing the chuanqi of Li Yu, " Li Weng Shr Jung Chiu "（笠翁十種曲）, I can see how Li Yu “inherits” and "transforms" the "convention". In the same chapter, I also analyze Li Yu's creative process by looking into the way in which he tries to construct a set of "writing strategy” from inheritance to a new process of his creation. By understanding Li Yu from the use of legendary techniques, his purpose of creation will be found in observations of the commonality of Li Yu's creation in Hangzhou. The third chapter deals with a reading of Li Yu from "form" to “content.” By firstly examining Li Yu's creation in Hangzhou, I further analyze and understand the four chuanqi of Li Yu's "Nanjing Period". Li Yu changed his style, writing strategy and thoughts after moving to Nanjing. Compared with the "Hangzhou period", Li Yu's creation is no longer simply "new" but, as I argue, full of ideas of Taoism, education, personal experiences and care for the society. Chapter Four is from stage practices and performances of the exhibition of Li Yu’s plays. Literature reviews on the performances of Li Yu’s plays, including Li Yuanben（梨園本）, music scores, performance records, newspapers and periodicals, are discussed with constructing the history of Li Yu’s plays exhibition, and understanding how the audience during the time watched and understood Li Yu and his plays. In short, based on the analysis of staging and individual texts, this thesis explores different styles and creative motifs of Li Yu's "Hangzhou Period" and "Nanjing Period." By expanding the meaning of "staging" from predecessors through different text styles, as well as reasoning how people watch and accept Li Yu’s plays, this theis is a work of understanding how a professional playwright is born.