「幻形」與「換型」：《混元盒》的文本衍異與搬演文化

Shapeshifting and Transformation: Textual Amplify and Performance Culture of Hunyuanhe（混元盒）

《混元盒》為清宮端午承應大戲，講述張天師收妖故事，前賢研究多論其版本情節與節俗傳說。本文著重析論文本主題對舞臺搬演的影響，並呈現此劇隨著劇壇風尚變遷而改易的搬演文化。本文梳理崑弋、皮黃、影戲、鼓詞、祁劇等多個劇種，指出妖精「幻形／顯形」，是張天師道統「遮蔽／辨明」的表徵。為表現「妖精幻形」情節，發展出臉譜、行頭、火彩、舞臺等強調視覺奇觀的設計，成為京派本戲具時代意義的排演手法。而「辨真（人）假（妖）」之文本主題又進一步衍伸出諸多「真假戲」，如《五花洞》、《九花洞》、《雙天師》等，皆以固定關目、形式呈現，形成從文本主題到關目套式，乃至表演模式的串聯。
相對於「辨真假」主題線的強化，《混元盒》端午應節的性質在民初以後逐漸減弱。梳理1910-1940年代報刊，可見《混元盒》發展出兼飾多工、旦本正工戲、科班檢視標準等搬演文化，反映脫離宮廷承應後，此劇於民間順應京劇發展史自然產生的「換型」。亦即在觀眾的檢視下，《混元盒》以搬演娛樂性和功法精華作為自身價值，在遠超出節慶的意義上獨當一面，風行一時。

Hunyuanhe（混元盒）is a play of the Dragon Boat Festival in the Qing Dynasty, which tells the story of Zhang Tianshi’s demon harvesting. Many of the scholars have discussed its version and the festival legend about Hunyuanhe. This article focuses on the impact of the theme of the text on the stage performance, and also presents the changing performance culture of this play as theater trends have evolved.
In this article, we have reviewed Kun Yi（崑弋）, Pihuang（皮黃）, shadow puppetry（影戲）, Guci（鼓詞）, and Qi opera（祁劇）, to point out that the“shapeshifting /manifestation”of the demons is a symptom of the“concealment/discernment”of The Zhang Heavenly Master’s doctrine. The“shapeshifting”is a classical version of Beijing school of Beijing opera, with the development of the design of the facial type, the theatrical costumes, the props, the fireworks, the stage, and so on, which has become a contemporary rehearsal technique. Meanwhile, the textual connotation of“distinguishing between the true and the false”further extends to a number of“true and false plays,”such as Wuhuadong（五花洞）, Jiuhuadong（九花洞）, and Shuangtianshi（雙天師）, which have fixed context and forms of presentation, forming a series of linkages from the textual connotations to the sets of context and the modes of performances.
In contrast to the strengthening of the theme of“distinguishing between the true and the false”, the festive nature of the Dragon Boat Festival in Hunyuanhe is gradually diminishing. A review of newspapers and magazines from the 1910s to 1940s reveals that Hunyuanhe developed a culture of performance that included jianshiduogong（兼飾多工）and danben plays（旦本戲）, as well as the examination of the standards of the koban（科班）, reflecting the“transformation”of the play in the midst of the banshe（班社）and the rising trend of danjangs（旦角）after the play was taken away from the palace festivals.
In other words, under the scrutiny of the audience, Hunyuanhe established its own value by combining entertainment and the essence of martial arts techniques, standing out far beyond the significance of the festival and becoming wildly popular for a time.