中國戲曲的海外傳播與演出：日本長崎唐館做戲暨相關文獻紀錄初探

The Chinese Opera;Nagasaki;Tang House (Tojin-yashiki);Performance;Tang-style Dance (Tojin Otori)

日本自江戶時代起即接受中國戲曲文獻的輸入，包括雜劇、傳奇、曲譜等等，供文士貴族閱讀。除了戲曲文獻以外，在日本鎖國期間唯一的開放港口．長崎，由於唐館提供了唐人的生活起居，也將戲曲傳入長崎，在必要的習俗與場合演出。當時，與唐人往來的日本官員、翻譯與文人雅士，便將中國戲曲的演出情況反映在小說筆記、翻譯教材或是賦詠詩詞等文字紀錄之中；透過這些觀察紀錄，可以得知：第一，中國戲曲在19世紀以前即有海外演出的紀錄，而非僅有文獻；第二，當時中國戲曲以何種條件傳播至海外的日本演出；第三，日本人對於戲曲演出的理解為何，此點尤其重要，因為這是對於戲曲內涵真正的鑒賞，也是決定戲曲傳播與交流之程度的重要因素。而將戲曲當時的演出紀錄和交流，與日本戲曲文獻的流播作一立體式的參照與連結，始可真正瞭解戲曲在日本流傳之於戲曲發展的影響和意義。

Materials of the Chinese Opera, such as variety plays (zaju), legend (chuangqi), archival, and so forth were spread to Japan from Edo period. Chinese opera was also imported by Tang people (Tōjin) who lived in Tang House (Tōjin-yashiki) into Nagasaki, the only port open to the public during the Sakoku era, and performed in several important occasions. The Japanese officials, interpreters and literati who interacted with Tang people then wrote about the performances of the Chinese Opera in fictions, poetry and various accounts. From these records, we can firstly see that overseas Chinese opera performances existed before19th century. Secondly, we were able to know the circumstance and condition of how Chinese opera traveled to Japan and how it was performed. Thirdly, through these records, we can explore how Japanese over that time period understood and appreciated the Chinese opera performances, which enables us to probe not merely the distribution of the Chinese opera performances but also the communication between China and Japan. By looking at these records, we can therefore understand the influence and the significance of the spread of Chinese opera in Japan during that time period.