「改崑調合絲竹天道人心」－－論唐英之戲劇教化觀與其「經典性」思維之建構

On Qing Dramatist Tang Ying's Didacticism and Canonicity of His Drama

康乾時期的中國戲曲發展，可謂正處於一個極具變革意味的特殊時期。花雅爭勝，不但給整個劇壇帶來了熱鬧的景象，也帶來了巨大的變數。對於置身其間的觀眾來說，這種變化，撼動了自身的審美習慣與固有觀念。尤其是士大夫階層的知識分子，喜歡雅部還是花部，不僅是個人欣賞的口味問題，抑且在主觀上，被認為事關文化傳統的李嚴與審美精神的延續。在他們看來，花部擾人耳目、侵害風俗，是典型的「靡靡之音」，與崑曲的中正之聲，是不可同日而語的。而在清中葉文人劇作家中，學習花部戲曲用力最深，最為引人注目的，除了當時的戲曲大家蔣士銓（1725－1784）之外，能吸收花部戲曲唱腔、劇目，並借鑒花部戲曲角色安排等場上表演特點的，另有一人，即是唐英（1628－1756）。唐英精通音律，愛觀劇也愛寫劇，面對世人「所好惟秦聲囉弋，厭聽吳騷。輒歌崑曲，輒鬨然散去」的曲壇大勢，在很大程度上突破當時文人士夫「崇雅抑花」的偏見，不僅在自己的歌筵上予「土梨園」以一席之地，且另闢蹊徑，致力於以崑腔曲調，改編與取納當時流行的花部劇目。事實上，唐英的《古柏堂傳奇》，自創作以來，雅俗共賞，傳演不衰，至今仍有許多劇目活躍於戲曲舞臺之上，為我們保留「花雅融合」的具體軌跡，以及部分地方戲曲聲腔的原始面貌。其中尤值注意的，唐英除了在戲曲形製方面，勇於創新之外，他更在主題的營造上，有著驚人的創解，並具體嘗試將他的理念，付諸實踐。我們若想對康乾之際戲曲發生的這場「花雅之爭」的重大變革有進一步理解，唐英的劇作在思想內涵上與藝術形式上，都有它作為接榫與轉折的意義與價值，不容忽視。The Kangxi and Qianlong periods are usually regarded as critical in the development of Chinese drama. The competition of Huabu (regional drama) and Yabu (kunqu, kun opera) not only brought prosperity, but also caused a tremendous revolution in the Qing theatrical sphere. For the contemporary audience, this revolution shook their aesthetic habits and their traditional concepts. Especially for those intellectuals, appreciating kunqu or regional drama was an issue not only of personal taste; it was related to the dignity of Chinese cultural tradition, continuation of the aesthetic spirit, or even the fate of China. In their views, the regional drama, which disturbed one's eyes and ears or violated social morality, was a kind of typical 'decadent music' and thus not to be compared to the classic melody of kunqu. Among the Mid-Qing literati dramatists, in addition to Jiang Shiquan (1725-1784), Tang Ying (1682-1756) was probably the one who studied regional drama most profoundly, and was the best known for his achievements in blending the performing arts of regional drama and of Kunqu. He was a musical master who loved dramatic performances and writing plays as well. Facing the major trend of preferring regional drama to kunqu in the Qing society, Tang Ying broke the traditional prejudice of 'respecting kunqu and suppressing regional drama' by bolstering regional drama at his own banquet, where he tried to combine Huabu and Yabu by combining the popular plays of regional drama with kun operas. In fact, Tang Ying4li collection of plays, Gubotang chuanqi, was appreciated and performed widely among the literati and ordinary people. Through many of Tang Ying's plays, which are still very popular on the stage nowadays, his distinct skill in lending Huabu and Yabu (huaya ronghe) and some original features of the singing tones in regional drama are preserved. It is noteworthy that, in addition to perfecting inventions for dramatic forms, Tang Ying also presented his amazing creativity in the construction of themes, trying to apply his theories to theatrical practice. Tang Ying's plays, as a connecting or turning point in the development of Qing drama, have their undeniable significance and value in content and art form, which helped trigger the significant revolution in the 'competition between Huabu and Yabu.'