歌舞伎《阿國御前化粧鏡》及其衍生作品論析──兼及與《剪燈新話》〈牡丹燈記〉的關連

Analysis of Japanese Classical Drama Okunigozen Keshō no Sugatami and Its Derivative Works: Along with Its Relationship with Jian Deng Xin Hua's Mu Dan Deng Ji

〈牡丹燈記〉在15世紀末傳入日本，為江戶文藝的創作帶來諸多影響。鶴屋南北《阿國御前化粧鏡》（1809）即仿效了部分情節。其後，歌舞伎《天竺德兵衛韓噺》（1832）、《音菊家怪談》（1838）以《阿國御前化粧鏡》為底本進行改編，並在演出翌年刊行合卷《天竺德兵衛韓噺》（1833）、《御家のばけもの》（1839），紀錄阿國御前故事的流變。兩作在情節安排與人物關係上，多借鏡既有劇作，並修正角色塑造的瑕疵。同時，配合實際演出狀況，穿插觀劇說明；擇選主要角色，描繪書籍封面。作品呈現濃厚的戲劇色彩與豐富的閱讀趣味。《天竺德兵衛韓噺》、《御家のばけもの》因刪除〈牡丹燈記〉的多數情節，較難視為其影響下的產物，但若結合1975年、2001年的兩場公演，或可勾勒出不同時空背景、創作考量下，〈牡丹燈記〉要素的沿襲與刪略變化，建構不同於歌舞伎《怪異談牡丹燈籠》（1892）的關連脈絡。

''Mu Dan Deng Ji'' was transmitted to Japan at the end of the 15th century and significantly impacted Edo literature. Part of the plots has imitated in Tsuruya Nanboku IV's Kabuki works, Okuni gozen Keshō no Sugatami, in 1809. Later, Kabuki's Tenjiku Tokubee Ikokubanashi (1832) and Kanetekiku Oie no Bakemono (1838) were adapted from it and published Tenjiku Tokubee Ikokubanashi in 1833 and Oie no Bakemono in 1839, to record the evolution of Okuni gozen's story. In terms of plot arrangement and character relationship, the two works borrowed much from the existing plays and corrected the flaws in character shaping. At the same time, with the actual performance interspersed with the interpretation of the play; choose the main character and draw the book cover. The work presents a rich dramatic color and rich reading interest. Since most of the plots from ''Mu Dan Deng Ji'' omitted from Tenjiku Tokubee Ikokubanashi and Oie no Bakemono, it is difficult to regard it as the product under its influence. However, if we combine the two public performances in 1975 and 2001, it can outline the evolution and deletion of ''Mu Dan Deng Ji'' elements under different time and space backgrounds and creative considerations. The construction is different from the connection of Kabuki's Kaidan Botan Dōrō in 1892.