《三十六聲粉鐸圖詠》研究——以源自元明戲曲的折子為例

A Research on“Picture and Poem Album of Thirty Six Comedy Plays”, Using Fragmented Highlights Originating from Operas of the Yuan and Ming Dynasties as Examples

清末宣鼎繪製的《三十六聲粉鐸圖詠》詩畫冊，收錄晚清戲曲舞台上流行的三十六齣淨丑戲。其中將近一半的折子，源自於元明戲曲。 元明代劇作家編創《牡丹亭．僕偵》、《拜月亭．扮恙離鸞》等，原本只是調劑冷熱，並未在全本戲中着意塑造這些淨丑邊配人物。雖說嘉靖時期已有摘段折子的演出，但在當時以「曲」為主要審美標準的舞台上，插科打諢的折子並沒有獨立存在的價值。因此《圖詠》中源於元明戲曲的淨丑折子，少數因唱曲的特殊性而被明代的「曲唱本」收錄，但都不被明代的「劇演本」選本收錄；但在清代戲曲選本《綴白裘》中，幾乎全部都能找到。 對照元明全本與這些折子選本，崑丑除了增加大量說白在角色的通俗化、生動化下工夫外，更看到淨丑腳色從邊配人物變化為折子主角的過程，以及明末清初之際，淨、付、丑二種行當、三種類型角色的明確分化。從演出台本與全本的對照，不只看到崑丑行當的成熟，更看到藝人對原有折子，在創新與改編後，賦予新的表演風格與審美特色。

In the late Ching dynasty, Hsuan-Ting created“Picture and Poem Album of Thirty Six Comedian Plays”（三十六聲粉鐸圖詠） in which he collected thirty six popular fragmented highlights of the clown role of the Kun opera play. Half of these plays originated from operas of the Yuan or Ming dynasties. The original intention of these fragmented highlights, such as“Pu Chen, Mu Tan Ting”（牡丹亭．僕偵）and“Pan Yang Li Luan , Pai Yueh Ting”（拜月亭．扮恙離鸞）created by playwrights in Yuan and Ming dynasty, was to regulate between the awkward silence and the warmth on the stage. The subordinate figures of Jing and Chou were not deliberately portrayed during the entire performance. Some fragmented highlights were performed during the Jia-Jing period; however, there was no independent existence value for comedy highlights during the days in which the“Chu”was the main aesthetic standard on the stage. Therefore, only few Jing and Chou highlights in the comedy album were included in the libretto for their particularity, but not in the performance script of the Ming dynasty. Nevertheless, almost all of them can be found in the Ching dynasty's selected opera work“Chui Pai Chiu”. If comparing those selected highlights of the album to the complete performance scripts of the Yuan and Ming dynasties, it can be found that the clown role of the Kun opera had been entrusted with more spoken parts for making the role more popular and more vivid. In addition, we witness the process in which the roles of the Jing and Chou evolved from subordinate figures to major characters. It is also found that the two roles clearly divided into three categories the Jing, Fu, and Chou during the alternating times of the Ming and Ching dynasties. By making this comparison, we have found not only the maturation of the clown role of the Kun opera but the actors delegated new performance styles and aesthetic features to the original fragmented highlights through innovation and revision efforts