《奇雙會》的幾個問題－－出入徽京崑與鴞神解謎

Some Problems about “Qi Shuang Hui”: A Repertory Performed in Hui Opera, Beijing Opera, and Kun Opera, With the Owl Deity as a Solution to a Puzzle

《奇雙會》又名販馬記，唱吹腔，崑班京班都常演出。本文討論四個問題，（1）源自京班還是崑班？（2）宮中演出的意義。（3）版本考察與表演重點。（4）已消失於舞台的鴞神傳音。第一節先論源流，查出徽班劇本齣目以及乾隆年間在北京演出紀錄。徽班發展為皮黃戲，徽班劇目一併被吸收，《奇雙會》乃成為京劇在孕育時期即演出的戲。一九二二年俞振飛向京劇小生學成後，教給「傳字輩」，正式成為崑班劇目。第二節論此劇出自民間，道光三年開始入宮演出，為宮廷「崑亂易位」時期代表劇目。第三節指出民間戲曲的文本往往與劇場實踐不盡相同，此劇以李奇冤獄為情節主軸，表演重點卻是李奇之女的新婚閨房樂。第四節指出梅蘭芳對本劇的兩度修改，第一度是一九三一年遷居上海時，擔心迷信過時，刪去受父跪頭暈及傳聲神兩關鍵。第二度是一九四九以後，因戲曲改革禁迷信，將下場詩改為「紅日正光輝」。本文以梅蘭芳錄音以及「音配像」等視聽資料與諸版本相互印證，更由台灣軍中劇團聯演的錄影，証明梅蘭芳修改之前的傳統演法仍保存在台灣京劇舞台上，而大部分版本的「鴞神」，其實應是「神」之誤。本文通過《奇雙會》提出，評賞民間戲曲應在詞采、情節布局之外，更關注戲曲蘊含的民間信仰，其間投射的正是小老百姓踏實懇切的生存願望。

“Qi Shuang Hui”, also called “Fan Ma Ji”, is an aria drama performed with flute accompaniment, both in Kun Opera and Beijing Opera. We want to study four major topics. The first is “Which genre of drama did ‘Qi Shuang Hui’ come from?” We discovered that “Qi Shuang Hui” came from Anhui actors, and then it became the repertory of Beijing Opera. Yu Zhenfei learned it from an actor of Beijing Opera in 1922, and then taught the students of Kun Opera school in Suzhou. “Qi Shuang Hui” became the repertory of Kun Opera from that time. The second is “What’s the meaning of performing the ‘Qi Shuang Hui’ in the palace of the Qing dynasty?” The repertory of “Qi Shuang Hui” came from folk literature, and was later performed in a palace of the Qing dynasty. It is the masterpiece when Kun Opera was replaced by Beijing Opera in the palace of the Qing dynasty. The third is “How was ‘Qi Shuang Hui’ adapted over time? And what are the important parts in its performance?” The focus is different between the repertory coming from folk literature and its performance. The main story of “Qi Shuang Hui” is Li Qi’s injustice, but the focus is in its performance in his daughter’s wedding. The fourth is “Father Li communicated with his daughter through the owl god was removed from the performance of ‘Qi Shuang Hui’.” We learn that this pilot was removed by Mei Lan-Fang twice. Mei Lan-Fang removed it the first time in 1931, worrying audiences thought the pilot was superstitious. The second time, he removed it after 1949 for “Theater Reform.” We should know that we have to devote more patient attention to folk beliefs in folklore literature, because they involve common people’s desires about how to live.