崑腔傳播、俗創劇目與聲腔體系的變化──金華崑提綱戲《金棋盤》論析

The Spread of Kunqu, the Changes of Folklore Drama and Tune System—Analysis of JinHua kunqu Improvisational Drama“Jin Qi Pan”

吳新雷認為，「俗唱劇目」多為民間藝人編演的通俗性的臺本或提綱戲，與「崑唱雜劇」、「南曲戲文」、「明清傳奇」同為崑劇劇目的來源之一。明清傳奇歷來多為名家名筆，蘇州正崑演出以全本戲、折子戲為主，傳播地方以後，發展出提綱戲的演出型態，可說是崑曲適應地方文化生態所產生的變化。
金華武義崑曲提綱戲《金棋盤》，是今日罕見的地方崑腔提綱戲抄本。本文以此探究崑腔如何做提綱戲。相較於地方聲腔戲班發展出獨特的套語系統，金華崑提綱戲雖然並未發展出套語，而以全本戲、折子戲曲文，摘選組合為提綱戲戲，從敘事脈絡來看，曲文與情節雖不免扞格矛盾，而受到有識之士的批評，但地方觀眾卻歡迎這樣的做法，使得地方崑腔提綱戲呈現獨特的樣貌。
此外，本文發現，相較於蘇州崑曲，《金棋盤》抄本中牌名的腔板指涉、曲牌聯套關係的弱化，以及武場系統雖承襲蘇州崑曲，也混用了地方聲腔的鑼鼓，並發展出特有的「三不出」、「亂鑼」等有別於蘇州崑曲的形式與審美特色，反映崑腔傳播過程中，對於地方崑腔藝人而言，崑曲聲腔體系的意義與內涵已有所轉變。「提綱戲」這類並非承襲自蘇州崑曲的「俗創劇目」，真實反映地方崑腔藝人與觀眾觀、演關係，是研究崑腔傳播的重要材料。

“Popular repertoire”is mostly popular scripts or outline plays compiled and performed by folk artists, and is one of the same sources of Kunqu opera repertoire as“Kunchang Zaju”,“Nanqu Opera”, and“Ming and Qing Legends”. The legends of the Ming and Qing dynasties were always written by famous artists. Zhengkun performances in Suzhou are mainly full-length operas and excerpt operas.
In Jinhua Wuyi Kunqu opera, the condensed play“Jin Qi Pan”is arare copy of local Kunqu opera outline opera today. This article uses this to explore how Kunqiang performs outline plays. Compared with the unique formulaic system developed by the local troupes, Jin Huakun Outline Opera has not developed formulaic language, but the whole series and excerpts are used as the condensed opera. From the perspective of narrative context, although it is unavoidably contradictory and has been criticized by people of insight, local audiences welcome this practice, which makes the local condensed Kunqu opera aunique appearance.
In addition, this paper finds that the name of the tune in the manuscript refers to its voicing and clapper use, so the relationship between the tune and its tune type is weakened, and that although the Wuchang system inherits Suzhou Kunqu opera, it also mixes gongs and drums with local tunes, and has developed unique features of“three outs”,“Luan Gong”and other playing styles that show that Jinhua’s Kunqiang condensed outline opera has developed aform and aesthetic characteristics that are different from Zheng Kunqiang. This change is an issue to explore the further development of Kunqiang opera.