「鮑老」及其衍生意義考釋

A Philological Study on “Baolao＂ and Its Derived Meanings

「鮑老」一詞，最早見諸宋代，南戲《張協狀元》、周密《武林舊事》皆曾載錄。南戲《張協狀元》第五十三齣出現的「鮑老」一詞，錢南揚承繼王國維《古劇腳色考》，釋之為「古劇腳色」，歷來的語言文獻資料，便採納兩位先生之論點，將鮑老解釋為民間社火舞隊中，滑稽詼諧，逗人笑樂的腳色。事實上，經筆者考察，鮑老與腳色名稱無干，乃是人擬傀儡以從事歌舞表演之通稱，演出模式揉合傀儡戲、假面戲、隊戲，亦與儺戲、社火小戲關係密切，自宋代以降，乃至民國，是元宵節慶活動中，報神娛人的常備戲目。由於《舞鮑老》廣泛盛演於宮廷及民間，是故亦對宋元南戲、雜劇之形成，產生促進作用，在戲曲形成之後，鮑老表演仍持續保存於地方宗教祭祀節目之內，成為珍貴的文化資產。

The term “Baolao” was first used in the Song Dynasty, and was recorded in both Nanxi “Zhang Xie Zhuang Yuan” and Zhou Mi's “Wu Lin Jiu Shi.” The term “Baolao” was used in Play 53 of Nanxi “Zhang Xie Zhuang Yuan.” Qian Nan-Yang followed the interpretation of Wang Guo-Wei's “Research on Roles in Ancient Plays” to explain “Baolao” as “a role in ancient plays.” The philological literature of all times adopted the perspective of these two literati to explain Baolao as a funny, humorous, and adorable role in folk Shè Huǒ dancing group. In fact, according to the author's investigation, Baolao is irrelevant to the name of the role, but is the common name of use of a puppet to engage in singing and dancing performances. The performance model is integrated with puppet performance, mask drama, and team drama. It is also closely related to Nuo drama and Shè Huǒ drama. From the Song Dynasty to The Republic of China, “Baolao Dancing” was a common performance used for entertaining people and expressing gratitude to Gods in Lantern Festival Activities. Because “Baolao Dancing” was comprehensively performed in palaces and folk circles, it facilitated the development of Nanxi and Zaju in the Song and Yuan Dynasties. After the development of Zaju, Baolao was still preserved in local religious worshipping programs and became a valuable cultural asset.