崑劇表演傳承中京劇因子的滲入

The Influence of Peking Opera on Kunqu in the Twentieth Century

乾嘉時期，崑劇藝人為與花部競爭，紛紛改演折子戲。由全本到折子，改變的不僅是文本，更是表演藝術的愈趨精雕細琢。此刻崑劇的表現，由「文學」轉移到「表演」，身段漸趨定型，《審音鑒古錄》等「身段譜」，可為記錄，也是見證。乾嘉時期確立的崑劇精緻化表演已成為範式，不僅是崑劇發展總結性成就，更是往後「口傳心授」傳承時必須遵循的典範，而身段譜的研究重心也逐漸延伸至崑劇表演的傳承。學界將身段譜當作典範，和當代傑出藝人的折子戲演出相互對照，細膩比對每一個身段走位，證明乾嘉傳統確實保存在當代，成果明確。本文則擬在看似清晰的「乾嘉傳統→清末全福班→民初傳字輩→當代崑劇藝人」傳承脈絡中，找出幾許曖昧、模糊、含混、擺盪的罅隙，以見劇種流傳過程中的複雜性。「乾嘉傳統」雖為崑劇典範，但不得忽視戲曲在流傳過程中勢必受到當時「劇壇主流、流行劇種」影響的事實。晚清至民初以來京劇大盛，劇壇主流為京劇，崑劇在這段時期的教學或表演勢必受京劇影響。而京劇因子的滲入，未必一定要視之為是對崑劇的破壞，這是戲曲流傳的正常現象。當代崑劇不僅武旦、武生、武丑、淨行這幾個行當受到京劇鮮明影響，甚至老生也有很多表演得京劇啟發，旦行也有明確例子。本文以當代崑劇傑出藝人訪談資料為主，通過實際舉證，指出戲曲流傳的複雜性。

Ever since 1800s, the emphasis of Kunqu gradually shifted from its script to its performance. The canonical way of performance was thus settled, as described in glorious detail in Shenyin Jiangu Lu, for example. As a result, contemporary scholars regard books like Shenyin Jiangu Lu as the sole standard that should be strictly followed even for Kunqu performance nowadays. In this paper, however, we wish to illustrate a different point of view. While the canonical performance described above was the basis of Kunqu, the influence of Peking Opera, the major Chinese performance art for the past two hundred years, on Kunqu should never be ignored. In particular, the actors have, either explicitly or implicitly, synthesized various elements from Peking Opera into Kunqu performance. We emphasize that this should not be regarded as some impurity in the development of Kunqu; rather, it is a common feature of the history and transmission of theater. This paper is based on various interviews and speeches from Kunqu actors, in contrast to the usual scholarly viewpoints.