崑劇折子戲《澆墓》在當代的傳承與藝術創作

From the Kunqu Opera drama, Watering the grave to discuss the artistic creativity of Kunqu performing art

清代乾嘉年之後，崑劇慢慢走向了一個頽勢，許多戲班星散，劇目失傳，但文人創作並未斷絕。《澆墓》的創作約成於清乾隆年間，或以為出自《療妒羮》，實則《澆墓》為獨立創作的一折雜劇，非隸屬任何傳奇劇本。吳梅推崇此劇「文字至佳」，然作者姓名幾乎不傳，作品也幾乎佚失，且未見演出記錄，若非《增訂六也曲譜》收錄，顯示曾為梨園傳唱，此劇已湮沒不聞。80年代傳字輩藝人姚傳薌與浙江崑劇團王奉梅師生聯手重新捏塑，將劇本整理刪節為適於舞臺表演的長度，唱腔按《增訂六也曲譜》，身段表演則以傳統折子戲思維出發並略具新意。本文即分析此劇從文本到舞臺立體化的創作內涵，以見當代的傳承與創作。在依循傳統的部分：文本的修整只刪不改、音樂上遵循原譜、表演上運用古典程式進行創作；而著意經營的藝術創作則有：改變服裝的程式性運用、設計人物定式動作、強化戲劇節奏「冷戲熱唱」、運用生活化動作以強化情感表達等手法，以有別於其他折子戲，並貼近當代觀眾。在以抒情為主體的文本中，本劇運用虛實相生，情境外化的手段，足可見證當代崑劇表演者的創作思維與表演實踐。

After the Qianjia of Qing Dynasty, Kunqu opera slowly moved to a slump. Many opera troupes were dispersed. Therefore, artists had to dig for the repertoire that had not been performed by the previous generation in order to save the lost audience. The drama Watering the grave was spread this way. According to the research, the creation of Watering the grave was created in the Qianlong period of the Qing Dynasty, or it was thought to be from Therapy of Jealousy. In fact, Watering the grave is an independent miscellaneous drama that is not part of any legendary script. Wu Mei praised the play has great script, but the author's name was hardly known, and his scripts were mostly lost, and no performance record was found. If Watering the grave was not included in ''Addition to Liuye music sheets'', which have been sung in Liyuan, and this Kunqu Opera would gone unnoticed. In the 1980s, the legendary artist Yao ChuanXiang and his protegee, Wang Fengmei worked together to reshape the script. The script was cut to a suitable length for the stage performance. The aria followed ''Addition to Liuye music sheets'', and the body language was original and innovative from Kunqu. This article is to discuss the script and acting on the stage. From these, we can see how the opera in Kunqu expresses lyricism. At the same time, discuss the modern performance and creation of Kunqu opera.