京劇目連戲探源

京劇之所以成為清代花雅爭勝後的霸主，其實是經過很長一段醞釀期，在融合吸收各種聲腔劇種的長處後，才在清末鼎盛。京劇的劇目，往往來自各個不同的前身劇種；以目連戲而言，趙景深先生認為京劇目連戲與清宮中大戲有著密切的關係。然而，比對《清車王府藏曲本》及《俗文學叢刊》中的高腔及亂彈劇本後，發現京劇目連戲與清初流行於北京的高腔，關係也非常密切。（詳見附錄一）所以從鄭之珍本《目連救母勸善戲文》，到京劇的橋梁，應該不只一條，除了宮中大戲《勸善金科》外，還應該包括高腔目連戲。本文以京劇常演的兩齣戲：《滑油山》、《目連救母》（《六殿》），比對鄭之珍本、乾隆本《勸善金科》、高腔、京劇各本曲文唱詞異同，以了解其變化沿用的情形；並以其他相關的劇目分析佐證，以探究京劇目連戲到底源自於何種前身劇種。

關鍵字

目連戲；勸善金科；高腔；京劇；鄭之珍

並列摘要

In fact, it had been a long period of brewing time before Beijing opera had gained its leader position in the Wha-Ya competition in Ching dynasty. Beijing opera became prosper in late Ching dynasty since it integrated and absorbed all good qualities from various operas. Plays in Beijing operas usually came from very different opera classes. Taking Mulian opera as an instance, Mr. Chao, Jing-Sen (趙景深) believes it has very close relationship with the operas in Ching palace. However, after comparing plays in ”Mongolian Che-Wang Prince Collection of Chinese Operas and Tunes”(《清車王府藏曲本》) with those scripts in Kao-Chiang (高腔) and Luan-Tan(亂彈) in ”The Collection of Folk Literature”, it is found that Mulian opera is also very close to Kao-Chiang, a type of opera popular during early Ching dynasty in Beijing. As a result, we may conclude that the bridge transforming ”Play of Mulian saving mother to Beijing opera should not be only one. In addition to palace play ”Chuang-Sian-Jing-Kur.”(《勸善金科》), Kao-Chiang Mulian Opera should be included as well. This research compares music and scripts in the two popular Beijing operas, ”Wha-Yo-San”(《滑油山》) and ”Mulian Saving Mother”(《目連救母》), with those in ”Chuang-Sian-Jing-Kur”, Kao-Chiang, and other Beijing operas, so that the transformation and how it lasted can be realized. By analyzing related plays, and taking facts as evidences, what preceding opera class that Mulian Beijing opera is originated is investigated.