論南管戲《鄭元和》之文化傳釋

Study on Cultural Interpretation of Nanguan Opera Zheng Yuan He

南管戲之確切淵源與發展，向來眾說紛紜，在探尋南管戲之淵源時，主要集中於劇目與宋元南戲舊目關係之探討，並以此作為南管戲淵源於宋元戲文之依據。然而是否「同名劇目」就一定源自於「宋元戲文」？是否在劇目情節安排上，彼此就一定存在必然關係？「文化集體性」是文本改編過程中之主要變因，因地域文化差異，作品往往需重新詮釋再創。「鄭元和／李亞仙」故事自〈一枝花〉話後，由唐人白行簡《李娃傳》定型，自此相繼改編成為話本、小說、戲曲等作品。從唐代至今，多樣化的文體呈現，其間可見其相互因襲與創新之跡象。本文以南管戲下南《鄭元和》為研究對象，從故事傳播之「地域美學」視角，分析歷來相關劇作彼此間之承繼與創新，詳實探討南管戲《鄭元和》在傳播過程中所產生之文化演繹。

There have been various opinions regarding the precise origin and development of Nanguan Opera. Study on the history of Nanguan Opera is mainly based on the relationship between the list of opera and old list of Song Yuan Nan Xi and it is regarded as a reference of Nanguan Opera originated from Song Yuan Xi Wen. However, is ＂list of opera of the same name＂ derived from ＂Song Yuan Xi Wen＂? Does the relationship exit in the plot arrangement of the list of opera? ＂Cultural collectivism＂ is the principal factor of text revision. In order to comply with the regional and cultural difference, the authors must develop the reinterpretation, even in the classical texts which have been diffused for hundred years. After Yi Zhi Hua, the text of ＂Zheng Yuan He and Li Ya Xian＂ was fixed by Li Wa Zhuan of Bai Xing Jian in Tang Dynasty. It was thus adapted as short stories, fictions, operas, etc. From Tang Dynasty to the present, diverse writing styles have been presented and it shows the inheritance and innovation. From the perspective of ＂regional aesthetics＂ of cultural diffusion of the story ＂Zheng Yuan He / Li Ya Xian＂, this study treats Nan Guan Xia Nan Zheng Yuan He as the subject to explore acceptance and reproduction of Nan Guan Li Yuan toward ＂Zheng Yuan He / Li Ya Xian＂. First, this study reviews the versions of the same list of opera and subsequently, it compares the inheritance and innovation of related pieces in terms of themes, plot and characters. It precisely probes into the effect of regional culture on Nanguan Zheng Yuan He in the process of diffusion.