李漁的戲曲理論與實踐──以《巧團圓》為觀察對象

Li Yu's Theory and Practice on Xiqu: A Case Study of Qiao Tuan Yuan

李漁（1611－1680），字笠鴻，號笠翁，其喜劇作品均以大團圓作結尾，而其《閒情偶寄》則是第一部最具系統且最完備的戲曲理論著作，李漁的喜劇創作和他的戲曲論之間有著緊密的關聯性，其戲曲理論是在喜劇創作過程中，歸納統整而出的，因此其喜劇作品大都符合自己所提出的戲曲理論，藝術技巧豐富。本文欲以李漁《閒情偶寄》中的戲曲理論，來分析其喜劇作品《巧團圓》，以「情節結構」、「語言文字」和「人物性格」三個部份為主，探討李漁戲曲理論在其喜劇作品中的實踐，以期證明李漁在進行戲曲創作時，是遵循著自己的戲曲理論，具有高度的藝術價值。

Li Yu (1611-1680), who had the courtesy name, Li Hong, and a pseudo name, Li Wong, left all his works of comedy the endings of joyful unions. The collection of his notes and essays, Xian Qing Ou Ji, is the first systematic and integrated treatise of Xiqu. Li Yu's creation of comedies stayed close to the development of his theory of Xiqu, which was integrated within the progress of writing. Therefore, his comedies mostly correspond to his own theoretical framework with an abundance of artistic techniques. This paper aims to base on his theory of Xiqu to analyze Li Yu's comedy, Qiao Tuan Yuan, from the angles of ＂structure of plot＂, ＂style and wording＂, and ＂characters＂. Further, by exploring how Li Yu put his theory into practice in his comedies, the paper is dedicated to demonstrating his integrated praxis of theory and playwriting to highlight his significant artistic contribution to Xiqu.