從關漢卿《竇娥冤》論當代兩岸歌仔戲詮釋的樣貌

The Research on Interpretations of Contemporary Taiwanese Opera between the Mainland China and Taiwan from Kuan Han Ching's Play, Plights of Tou O

元代關漢卿《竇娥冤》雜劇，堪稱我國古代戲劇中的悲劇代表作之一，且長久以來仍不斷的被加工改造，至今仍活躍於舞台上。卻由於歷代改編的版本各有不同，人物和情節都作了某些改動，甚至有些改編已脫離了原著的創作意涵，更減弱了其悲劇底蘊的價值性。特別是在當代的戲曲舞台上，各地方劇種搬演《竇娥冤》的情況亦時而可見，其所呈現的風格除了蘊涵了各劇種的特色外，更加入了當代改編者、或導演者、或演員等各方面的當代劇場藝術工作者之創意，展現出不同樣式的詮釋。故筆者在本文中，試從歷代改編版本比對其情節結構的差異性為基礎，進而以閩台「歌仔戲」為本，取樣「2006華人歌仔戲創作藝術節」廈門歌仔戲劇團出的《竇娥冤》與2003年、2007年台灣明珠女子歌劇團演出的《六月雪》為論述之版本略作對照與評析，試以探討當代「歌仔戲」對於這齣中國名劇的詮釋樣貌。 Plights of Tou O, written by Kuan Han Ching in Yuan Dynasty, was one of tragic representative works in our ancient dramas. It was kept adapting for a long time and is performed on the stage until now. Due to the different versions, some characters and plots in the play have been changed. Even some adaptations are not only away from the implication of the original, but also reduce the values of the tragedy. Plights of Tou O was performed on the contemporary stage with the different local dramas. It was represented the characteristics of the local dramas and was shown the various interpretations for the innovations of the adapters, directors, and the actors. In this paper, on the basis of comparing the different plots from the various versions, the researcher takes Mieng-Tai Taiwanese Operas as studying and samples the Plights of Tou O, , Plights of Tou O played by Shia Mang Opera Troupe in the Chinese Opera Creativity Festival in 2006 and Snow in Jun, played by The Pearl Girl's Opera Troupe in 2003 and 2007 to make the approximate comparison and analysis for exploring the interpretations to this ancient Chinese famous play in the contemporary Taiwanese Opera.