《萬壑清音》及其「北曲崑唱」之探討──以北曲雜劇之折子劇目為論述

An Investigation on the Kunju-style Northern Zaju in Wan Huo Qing Yin: A Discussion of Zhe-zi Plays in the Northern Za-ju

《萬壑清音》是現存唯一專收北曲折子戲的明代戲曲選集，更是觀察天啟年間「北曲崑唱」現象的珍貴文獻。本文以其所選，有元、明兩朝北曲雜劇套數為對應的散齣為主要探討範圍。檢視、比對後，可確認為與元、明北曲雜劇相關的折子共20齣。其中，選自元代或元明之際者佔多數。明天啟、崇禎年間崑劇盛行。崑劇以南曲為演述主體，而元雜劇則專以北曲組織套數。當明末擷取元明北劇為崑劇折子，北曲套數究竟如何適應以崑劇為主的舞臺環境？北曲雜劇折子如何處理「北曲崑唱」問題？本文以劇本比對，曲律分析為方法，歸納《萬壑清音》選齣修編改作的各種現象，從曲套、曲文、賓白、情節、人物、腳色分化等環節，探討其為崑劇舞臺演出而改動的變化。

Wan Huo Qing Yin is the only extant drama anthology from the Ming dynasty that Zhe-zi plays (actable plays) are well collected. The anthology is considered a valuable record for studying the transformations of the Kun-ju style Northern Za-ju (Bei Qu Kun Chang) during the Tian Qi period of the Ming dynasty. The article discusses the selected plays in the Yuan and Ming from Wan Huo Qing Yin. Twenty plays are related to the Yuan and Ming Za-ju. The majority of these plays originated from the Yuan dynasty. Kun-ju was popular during the Tian Qi and Chong Zhen periods. Kun-ju focused on the southern qu whereas the Yuan Za-ju organized song cycle by means of the northern qu. The methodology of this article is to make play comparison and qu-lü (tone) analysis and thus summarize various transformations from the adaptations in Wan Huo Qing Yin. Based on the analysis of song cycle, lyrics, dialogues, plots, characters, and roles, this article explores the changes and influences made by Zhe-zi plays in the Kun-ju stage.