「星宿謫凡、本命顯形」在京劇的意義與位置——以薛仁貴、薛平貴、趙匡胤、楊家將等名劇為主要觀察

“Constellation Gods Come Down to Earth and Appear in Their True Form” in Jingju –The Example of the Performing History of Xue Rengui, Xue Pinggui, Zhao Kuangyin, and Generals of the Yangs

本文擬以「星宿謫凡、本命顯形」為例，討論民間信仰與傳統京劇民間劇本的密切關係。京劇起自民間，早期的民間劇本普遍反映時代社會文化思想，「星宿」的普遍出現於劇中，便是一例。「星宿」不是京劇編劇個別的創造設計，而是人們集體願望的投射。人們想像出來的「星宿傳奇、天上劇場」，既達到了紓解、寬慰情緒的「補恨」作用，也具體反映人心底層的慾望，不僅是劇本的思想底蘊，更是編劇技法和結構手段，民間劇本的文學與文化價值由此體現，更有值得注意的舞台表現。本文擬聚焦於薛仁貴、薛平貴、趙匡胤、楊家將等幾齣具代表性的京劇名劇，先分析「星宿謫凡、本命顯形」在這些劇本裡的「意義」，包括《汾河灣》的青龍復仇、《紅鬃烈馬》與《龍虎鬥》的真龍現形、《四郎探母》《洪洋洞》唱詞裡所點出的本命星宿等，討論其思想底蘊、文學價值以及舞台表現，再考察這幾齣名劇演出的變革（包括版本的演變，現場觀戲紀錄，及其與老唱片和歷史錄音的比較），指出星宿在當代京劇舞台上幾乎都已被刪去而逐漸失去「位置」，對劇本及表演均造成影響。而這不僅受迫於（對岸的）國家禁令，同時也是兩岸演員、觀眾雙方對「結構」觀念同步改變的結果。

This study discusses the affinity between folk religion and Jingju scripts through the focus of “constellation gods coming down to earth and appearing in their true form.” Jingju grows from the folk, and there are no necessary glorious words or well-constructed paragraphs in early folk scripts; however, folk contributions to Jingju are filled with imagination and invention. “Constellation gods” are formed from collective projects, rather than from individual playwrights’ design. The imagination of “constellation legends and heavenly theatre” not only resolves resentment but also concretely reflects deep desires of humans, and this reveals the literary and cultural value of folk scripts—the ideological details, playwrighting techniques, script texture and the most noteworthy stage performances. This essay focuses on several famous plays of Xue Rengui, Xue Pinggui, Zhao Kuangyin and the generals of the Yangs, and firstly analyzes the meaning of the motif of“constellation gods coming down to earth and appearing in their true form” in these scripts, including the revenge of the blue dragon in“The Cove of Fen River (Fenhe-wan, 汾河灣)”, the true form of the dragon in“The Red-Maned Fighting Horse (Gong-zong-lie-ma, 紅鬃烈馬)” and “Dragon and Tiger Fight (Long-hu-dou, 龍虎 鬥)”, and the true form of the constellation god in “Silang Visits His Mother (Si-langtan-mu, 四郎探母)” and “The Hongyang Cave (Hong-yang-dong, 洪洋洞) .” Then, one conducts research on ideological details, playwrighting techniques, script texture, stage performances, and the study of performance history (such as editions, actor interviews, notes of seeing plays, and the comparisons of the gramophone records and recording history). Furthermore, the transformations of these plays were shaped by the prohibition of this folk theme in China; meanwhile, there were many changes of Jingju structure taking place between the cross-strait actors and audiences. Hence, the study emphasizes the effects on scripts and performance due to the loss of the motif of constellation gods in modern Jingju.