誰是主角？誰在觀看？──論清代戲曲中的崇禎之死

Who is the Main Character? Who is the Viewer? ––A Discussion of the Death of Chongzhen in Qing Dynasty Drama

本文圍繞清順治迄道光計六部書寫崇禎之死的劇作（《鐵冠圖》、《桃花扇》、《虎口遺生》、《傭中人》、《芝龕記》和《帝女花》），探討戲劇再現歷史的政治意涵，以及時代對歷史再現的限制及影響。從罕見之清內廷演出抄本《鐵冠圖》與民間演出本的比較，可見歷史記憶如何因政治目的被刻意地操控和利用。而時代的遷移也影響了作者再現歷史時，對其擬想觀眾之情感指引的目的上的差異。從清初至晚清，書寫崇禎之死的文人戲曲在有關「崇禎之死」這一極具戲劇性的關目處理上詳略不一，展現著由「悼明」到至少是表面上包含「頌清」的轉變。對崇禎個人命運及其所代表之有明一代滅亡的感懷，至清中葉已然失去其作為劇作中心主旨的重要性。取而代之的，是一種「泛政治性的」對臣子百姓的忠義教化。至清後期，故國之感再度抬頭，並且夾雜著幾許對人生盛衰無常的感傷。本文結論並指出，同一題材的歷史劇間往往存在著互文性與對話性，且戲劇與政治的關連、文本與意識形態的關係在歷史劇裡尤其顯著。然而在同時，清代劇場裡的演出可能不受內廷、官僚、文人重新編排史事的影響。《審音鑑古錄》中的《鐵冠圖．煤山》身段譜，見證著文化藝術之超越時代氛圍與官方意識形態的穩定力量。

This essay deals with six plays from the Qing dynasty, written between 1644 and 1832, concerning the death of Ming Emperor Chongzhen: Tieguan tu, Taohua shan, Hukou yusheng, Yongzhong ren, Zhikan ji, and Dinü hua. It explores the political implications of dramatic representation of history, as well as the limitations and influence of the times on historical representation. By comparing a rare copy of Tieguan tu that was performed in the Qing court with popular performances, it can be seen how historical memory was meticulously manipulated and utilized for political purposes. As historical changes also influenced dramatic representations of history, there were differences in the authors’ motives of directing the emotions of their implied audiences. From the early to the late Qing, plays written by literati treated the highly dramatic event of Chongzhen’s death with different approaches, directly or indirectly, fully or briefly. This reveals a transformation from grieving for the lost Ming dynasty to at least a prima facie intent to praise the Qing. The mourning for the personal fate of Chongzhen, as well as the fall of the Ming dynasty lost its predominance by the midQing. Instead, a general political teaching of loyalty and righteousness for the ministers and subjects was emphasized. By the late Qing, longing for the former dynasty once again arose, with it, melancholy toward the impermanence of the human condition. This essay concludes by noting the existence of inter-textuality and dialogism among historical plays on the same topic. In addition, the relationships between drama and politics, between text and ideology are particularly evident in historical drama. However, at the same time, performances in Qing theatrical venues perhaps were not influenced by the imperial court, the bureaucrats, and the literati that tried to represent historical event from a new light. The performance text of “Meishan” of the Tieguan tu, i.e. the scene of Chongzhen’s death, found in Shenyin jiangu lu illustrates the stability and strength of art and culture to transcend the moods of the times as well as official ideology.