從隱藏的秩序論述崑劇〈下山〉〈掃秦〉

A Study on Going Downhill and Sweeping off Qin in the Light of Concealed Order

崑劇小丑有五折重頭做功戲，稱之「五毒戲」，因人物表演形象模擬五種毒物而取名，包括：《連環記．問探》的探子，動作和造型猶如蜈蚣形象；《雁翎甲．盜甲》的時遷，登高上樑，猶如壁虎上房；《孽海記．下山》的小和尚，出場時半蹲著腿，半伸著臂，跳躍而出，像隻蛤蟆；《義俠記．別兄》的武大郎，走矮步，雙肘不離胸腋，不許伸動臂膀上半部，手緊縮一團，酷似蜘蛛腳；《金鎖記．羊肚》的張母，誤食毒湯，臨死前張口吐舌，兩眼發直，翻轉屈伸，盤旋攪動，使用許多蛇行動作。五毒戲另有一說，不含〈別兄〉與〈羊肚〉，加入〈茶訪〉、〈掃秦〉，因唱念和表演身段之繁重，極言串演之難。五毒戲繁重難演，實際上已是「累功戲」的代名詞。五毒戲中，〈下山〉、〈掃秦〉的丑腳人物都是和尚，從社會分類學的角度看，法師僧尼被歸類為「出世者」，與「入世者」成為不同類別的群體。本文借用西方社會學關於規範與失範的思想、分類圖式、慣習等理論，以及怪誕諷刺美學，討論兩齣崑丑累功戲，或能更深層剖析折子／全本及其表演藝術所蘊藏的秩序，其中含括聲腔演唱和腳色扮演，或亦能使隱藏秩序的視角，呈現多元的觀照。於是崑丑「五毒戲」不僅可從人物模擬五種毒物的表演形象而論，也不僅可從唱念和表演身段之繁重而論，更能從隱藏秩序的視角豐富其涵義。

Among the comic roles of Kun qu one finds the name, “five poisonous creatures plays,” referring to the heavy stage techniques in five single act plays (zhezixi) in which characters enact movements of five poisonous creatures, including centipede costumes, and movements of the scout, in Series of Stratagems: Inquiries about the Scout; the gecko-like ascent to a beam of Shi Qian in Wild Goose Feather Armor: Stealing the Armor; the toad-like postures and squat steps of a novice monk in the beginning of Story of Immorality: Going Downhill; the spider-like withdrawn arms and flexed steps of Wu Da-lang in Story of the Righteous Swordsman: Farewell to Elder Brother; and the snake crawl during Mrs. Zhang’s death by poisoning in Story of the Golden Cangue: Lamb Stomach Soup. The other combination of five poisonous creatures brings in Asking for a Cup of Tea and Sweeping away Qin instead of Farewell to Elder Brother and Lamb Stomach Soup. Consequently, these sets of five plays signified “weary work” due to their extremely difficult techniques and strenuous performance. Notably, among these five plays, the leading characters of Going Downhill and Sweeping off Qin are monks, who belong to people “renouncing the world” in terms of social taxonomy. By means of sociological theory of order and disorder, analysis through taxonomic chart and of convention, and absurd and satiric aesthetics in Going Downhill and Sweeping away Qin, this paper intends to explore more diversified perspectives of single act/complete plays, and to arrive at patterns of their performance, tune modes, and role categorization. Therefore, the five poisonous creatures play means more than the performing level of enacting poisonous creatures or strenuous stage techniques, but a broader scope of concealed order.