淺議《維摩詰經》的戲劇藝術特點

根據古代印度《戲論》對戲劇人物角色分類的精細論述，我們可以把《維摩詰經》中的人物角色分為主角、配角和醜角（反角）三類。維摩詰居士是全經的核心人物，當為主角；佛陀、文殊菩薩為次要人物，當為配角；舍利弗等以插科打諢為主，當為醜角（反角）。全經運用側面描寫、賓白、場景變化、神通力等多種戲劇藝術手法，著重突出維摩詰居士高大上的戲劇人物形象，熱情讚頌以維摩詰居士為代表的大乘「不可思議」的解脫境界和「不二法門」的思想。

關鍵字

《維摩詰經》；戲劇藝術；婆羅多《戲論》；角色；賓白

並列摘要

The dramatic characters in the Vimalakīrti nirdeśa sūtra can be classified into three types: protagonist, supporting parts and buffoons according to the ancient Indian work on dramatic theory, the Nāṭyaśāstra. Lay Buddhist Vimalakīrti, the main character in the Vimalakīrti nirdeśa sūtra, is no doubt the protagonist, while the Buddha and Mañjuśrī are of secondary importance, and so are supporting parts. Characters such as Śāriputra are surely buffoons since they only make impromptu comic gestures and remarks. All through the sūtra, Vimalakīrti is especially described as a towering figure using such dramatic artistic methods as indirect description, spoken parts, scene changes, and spiritual power, greatly praising the ideas of the ＂incredible Mahāyāna state of liberation＂ and ＂the one and only way＂ advocated by the Vimalakīrti.