北管婚變戲《三官（關）堂》抄本的口語傳統套式運用與敘事結構

Formulaic Style of Oral Tradition and Narrative Structure in Beiguan Theatre Manuscripts of Sanguan Tan

北管戲曲屬於口語傳統的一環，即便是已用文字紀錄的總綱，仍舊保留許多「白話不盡」、「小花便白」的即興空間，可視為依定本演出和以幕表戲方式表演的中間型態。本文研究方法受普羅普（V. Propp）的神奇故事形態學分析，與佩利（Milman Parry）、洛德（Albert Lord）研究口傳文學創作機制提出的「套語」、「主題」概念影響，在北管戲曲中選擇特色鮮明的婚變戲為對象，研究基隆游西津的《三官堂》與台中葉美景的《三關堂》抄本，兩劇名異實同，上承《琵琶記》，下接《鍘美案》。在辨別戲曲與民間故事、史詩吟唱的基本差異後，先整理出套語、主題，再談婚變戲的敘事結構與角色功能分析。研究中發現，普羅普理論中的「功能」，在戲曲裡可視為「行動」，神奇故事中功能由誰完成並不重要，但在以人際關係為主軸的戲曲裡卻顯得舉足輕重，而神奇故事功能項有限與次序相同的特點則與婚變戲一致。從套語與主題的比較中，可看出套語用於個人，主題則是在特定情境下，由兩人以上互動構成，廣泛運用套語與主題是亂彈戲曲予人「重重絮絮」印象的原因。

Taiwanese Beiguan Theatre follows the principles of oral tradition. Even though we transcribe the dialogues and the music into texts, these manuscripts conserve some parts noted as “sentences not finished” or “improvisations by clown.” It is a dramatic genre between those with totally settled scripts and those acted out only from a basic framework. The methodology of this essay is inspired by two domains. One is the morphological analysis of fairy tales by Vladimir Propp. The other is from oral tradition studies: the concepts such as “formula” and “theme” which are propounded by Parry-Lord in their studies on the mechanisms of the creation of oral literature. The Hunbianxi “Play about a Man Betraying his Family” is our first choice because it is one of the most characteristic types of Chinese dramatic texts. From the two different versions of Sanguan Tan belonging to Hunbianxi in Beiguan Theatre, we collect the formulae and themes, and then analyze the narrative structure and functions of dramatis personae. From the study, the researcher finds that the “function” defined by Propp is close to the “action” in drama. In fairy tales, who completes the function is not important. However, it becomes the major issue in drama: focus on human relations. Fairy tales and Hunbianxi both have the same features: limited numbers of functions (actions) and identically arranged functions (actions). In Beiguan theatre, “formulaic” components are for individuals, but “themes” are employed in specific scenes and carried out by plural roles. They are widely used in the theatre, so the public is impressed by its repetitive style.