崑劇巾生之人物形塑與折扇表演析論──以〈拾叫〉、〈亭會〉、〈錯夢〉為例

An Analysis of the Character Formation and Folding Fan Performance in Kunqu Opera―The case of ''Shijiao'', ''Tinghui'' and ''Cuomeng''

「巾生」為崑劇重要的家門之一；「折扇」則為輔助人物形塑的重要砌末，亦是文人化精神之展現。本文以巾生家門的人物塑造為核心，從表演角度探析巾生對文學形象的塑造與詮釋，聚焦到折扇技法，探析折扇技藝的重要價值。全文共分三節，首節傳奇與臺本之巾生原型，以〈拾叫〉、〈亭會〉、〈錯夢〉三本原著及其臺本，由文學形象聚焦到單一折子，了解案頭與場上書生形象，體現出癡情、風流及鬱結的獨特之處。第二節觀察當代巾生的舞臺創作，岳美緹的表演乾淨凝鍊；汪世瑜的表演華麗活潑；石小梅則含蓄內斂，各自呈現獨特的表演風格與人物形象。第三節搭配扇子砌末表演功法分析身段程式，以文人身分的揭示、加強身段延伸、帶出豐富舞蹈性與傳達人物的內在情感，總結出折扇技藝對巾生表演藝術之價值與特色。

“Jingsheng”is one of the salient Jiamen of Kunqu Opera. As for ''Folding Fan'', it is an indispensable stage prop that assists the formation of characters and shows a manifestation of the humanistic spirit. This study takes the character modeling of Jinsheng's Jiamen as the core, aims at investigating its shaping and interpretation of literary images from the perspective of performance, focuses on the folding fan techniques, and analyzes the significant value of folding fan skills. The present study mainly contains three sections. To understand the personal images and onstage performances of the Jingsheng which reflect the uniqueness of infatuation, romance and depression, the first section focuses on the Chuanqi and the prototypes of the Jingsheng by analyzing the scripts and original versions of ''Shijiao'', ''Tinghui'' and ''Cuomeng'' from the literary image to one single script. The second section observes the unique performances and different character images among numerous stage designs and performances of contemporary Jinsheng, including the conciseness of Yue Meiti, the vividness of Wang Shiyu, and the implication of Shih Xiaomei. Finally, section three analyzes the stage performances of the folding fan and concludes the value and characteristics of the folding fan techniques concerning Jinsheng's performing arts by revealing the identity of the humanistic spirit, strengthening the extension of the figure, bringing out the richness of dance and conveying the inner feelings of the character.