明《六十種曲》「家門」析論

明傳奇第一齣名曰「家門」或「開場」，其作用為正劇上演之前，對該劇做一開宗明義、提綱挈領之宣導與介紹。在簡短篇幅中，除了總括全劇故事梗概，亦往往藉此抒寫劇本立意與創作情懷，其間頗能尋索探測戲曲作家之創作心理與戲劇觀點，是戲曲文學一個值得觀察的面向。本論文除探究「家門」之起始源流、書寫特色與意義、齣目名稱、體製結構、擔綱腳色、敷演過程，並以流通最廣之《六十種曲》文本系統為主要察對象，另參酌《全明傳奇》版本為輔，研讀、爬梳其所有劇作「家門」內容，經過深入比對、析論，最後總結歸納明代戲曲作家於傳奇首齣「家門」所呈現之創作理念、動機、目的與價值觀。

“Door of the house” is the first piece of Legends of the Ming Dynasty. The first “opening” serves as the promotion and introduction with clear statement and outline before the performance of the formal play. In short content, it not only summarizes the whole story of the play, but also presents the purpose of the play and affection in creation. It explores creation psychology and perspective of play of opera playwrights. It is the dimension which can be observed in drama literature. This paper not only probes into the origin of “Door of the house”, names of plays, system and structure, roles and playing process, but also generally reviews texts of Legends of the Ming Dynasty in Sixty Categories of Drama and General Ming Dynasty Tales. It studies content of “Door of the house” in all plays. After in-depth comparison and analysis, it finally generalizes creation concept, motives, purposes and values presented by opera playwrights in Ming Dynasty in “Door of the house”, the first piece of tales.