論徐炎之、張善薌在臺灣的崑曲薪傳及表演特色

The Continuation of Kunqu in Taiwan: Efforts of the Couple Yen-chih Hsu and Shan-hsiang Chang, and Features of their Performing Styles

徐炎之（1898-1989）、張善薌（1908-1980）為一九四九年渡海來臺的崑曲曲家，崑曲能在臺灣札根，徐氏伉儷居功厥偉：或者號召曲友成立曲會，定期以曲會友，延續至今已逾一甲子；或者進入校園指導薪傳，培養年輕一代的崑曲愛好者。本文從概覽徐炎之伉儷的崑曲生涯展開，著重在南京時期的公餘聯歡社崑曲股（1934-1937），以與下文論薪傳及表演呼應；「薪傳」部分，徐氏伉儷教授的對象，兼顧前場演員、後場伴奏，遍及伶、票兩界，尤其指導學校崑曲社，以演出為核心的傳承方式，最具代表性；「表演」部分，先論述徐炎之的曲唱及笛藝，闡釋其通學的曲家風範；再論張善薌的代表劇目，闡釋其延續全福班晚期的表演特色，及與當代專業崑劇團表演不同之處。最後，總結徐氏伉儷的二大貢獻：在臺灣以曲會和崑曲社薪傳崑曲、凝結在一九三○年代的表演風格。

Kunqu masters Yen-chih Hsu (1898-1989) and Shan-hsiang Chang (1908- 1980) immigrated from mainland China to Taiwan in 1949. They were responsible for the education for and development of Kunqu in Taiwan, mainly through establishment of Chu-Hui (Kunqu Music Meets), and teaching Kunqu to students from secondary schools, vocational schools, and universities. This paper traces the couple’s Kunqu career, particularly exploring the period when they stayed in Nanjing (1934-1937), for what happened at this time heavily influenced the development and continuation of Kunqu later in Taiwan. The paper then discusses the practices and the results of their Kunqu education program in Taiwan, followed by discussions on Hsu’s singing and flautistry techniques, as well as Chang’s representative repertoire. The paper concludes with their major contributions: the advocacy and continuation of Kunqu in Taiwan and the preservation of their 1930s performing styles.