京劇影音製作的商業、權力與政治——以程派《鎖麟囊》等劇為例

The Commerce, Power and Politics of Media Production in Peking Opera –The Case of Cheng Yanqiu’s The Lucky Purse

本文從程（硯秋）派名劇《鎖麟囊》切入，探討京劇影音製作生產背後的文化政治；研究年限從一九四九年兩岸分裂以前，延伸到二十一世紀初。以個人聆賞《鎖麟囊》經歷為貫串，從幼年聽《鎖麟囊》唱片開始，長期追蹤此劇之「錄音、錄像、戲曲電影片、音配像、電視」等媒介，逐步解開最初聽唱片所生的疑團，進而揭開《鎖麟囊》在一九四九年以後的命運，以及程硯秋面對政治壓力的回應。本文不僅透過影音媒介追索《鎖麟囊》與程硯秋的「故事」，也不僅是《鎖麟囊》載體流變史，更試圖析論戲曲影音載體在不同時代體現的各種權力關係。本文採用特殊敘事架構，以「疑團初起、恍悟、解密、追憶、撥雲見日、餘波」為各節標題，倒敘追憶，層層設問：程硯秋《鎖麟囊》唱片何以不完整？《鎖麟囊》何以未被核准拍為電影？「音配像」選擇了哪一份錄音？臺灣何以在戒嚴時代灌錄強調勞動意義的《鎖麟囊》修改新版唱片？如此的敘事策略，使載體流變史與個人經歷結合，全文乃能既關涉權力互動與文化政治，又不僅限於政治與藝術的拉鋸，而回歸京劇藝術自身，《鎖麟囊》文本與演唱予人的感悟在文中時刻浮現，而《文姬歸漢》與「新程派」的關係，以及程派另幾齣戲在政治權力浮沉中的位置，也能一併陳述，進而對於臺灣如何傳承京劇流派的真相，也有較深認識。

This article, based on Suolinnang (The Lucky Purse), a famous play of Cheng Yanqiu (1904-1958), discusses the cultural politics behind media production of Peking opera (jingju), especially from the political split of 1949 to the early 21st century. It focuses on the author’s personal experience of listening to the records of The Lucky Purse, and continuously tracing all The Lucky Purse’s media productions, such as the records, videos, Peking opera cinema, “Yin Pei Xiang (sound with image)” and TV shows. The article exposes the mysteries surrounding the first recordings the author heard, and discloses the destiny of The Lucky Purse and Cheng Yanqiu’s responses to political pressure after the 1949 split. Furthermore, the article includes media productions of The Lucky Purse and Cheng Yanqiu’s story, so not only the changing history of The Lucky Purse, but also various power relationships are shown beyond the media production of Peking opera in different decades. Narrative style of writing is adopted as a “story” in this article; hence, six story titles are—Puzzle Appearing, Insight, Deciphering, Recollection, Illumination and Influence. These titles flash back and question—Why is the recording of The Lucky Purse fragmented? Why was no permission given to make a cinematic version? Which recording was chosen to make the “Yin Pei Xiang (sound with image)” version? In Taiwan, why was a new edition of The Lucky Purse with strong labor consciousness allowed during the Martial Law period? This narrative strategy combines historical developments and personal experience; therefore, this article focuses on power struggles and cultural politics, as well as the art of Peking opera. Meanwhile, it appears that the text and singing of The Lucky Purse frequently emerge to arouse human thought; besides, Wenjun guihan (Lady Wen's Return to the Han People), with other plays by Cheng, and the “New Cheng Style,” are simultaneously exposed in their dimension of political power. Thus, the article arrives at a more adequate understanding of the historical inheritance of Peking opera in Taiwan.