隱沒的才子佳人──崑劇《西廂記》折子戲之場上嬗變

The Fading Scholar and Beauty: The Shift on Stage of the Drama Fragment of Yuan Zaju, Story of the Western Wing

元雜劇《西廂記》塑造了戲曲作品中典型的才子佳人形象，然而在其改編為《南西廂》而流行於崑劇舞臺以來，張君瑞與崔鶯鶯的舞臺形象卻愈趨單薄。表演一再被刪減之外，原著的愛情線索也逐漸失落於場上。究其原因，首先是《南西廂》的改編在關目增刪、行當表演與審美品味方面加強了表演的通俗性與娛樂性，而削弱了《北西廂》濃厚的抒情色彩。同時曲文、曲律不夠精緻嚴謹，也使《南西廂》在場上難以發展為生旦抒情唱工戲。乾嘉時期《西廂記》折子戲又隨六旦、付丑、大面等家門藝術發展成熟，突出其本工或科諢表演，作為該折立足戲場的藝術特色。才子佳人的愛情主題便在家門或科諢表演中逐漸模糊，使該劇轉變成以貼丑插科打諢為主的戲為主的戲謔喜劇。 This essay aims at studying the reason why the Story of the Western Wing, a classic of Yuan Zaju, changed from a classic scholar-beauty romance drama to the Comedy of Tie and Chou. Popular on stage of Kunqu Opera, the lyrical Guanmu, romantic plots and the image of Zhang Sheng and Cui Ying Ying faded away in the southern version of Story of the Western Wing. Such a shift was driven from the adaption of the Story of the Western Wing in the southern version. The modification of Guanmu, performances of each type of character and the sense of aesthetics improved the popularity and entertainment, while the strong lyrical affection decreased. At the same time, the texts and the rules of Qu of the southern version wasn’t refined and strict enough for it to develop into a typical opera performing the singing of Sheng and Dan. In Qianjia Era, with the maturity of the art of Jiamen in each fragment, expertizing performance or buffoonery of Tie Dan, Fu Chou, Da Mian and Xiao Chou stood out and became an artistic feature that based the drama fragment Story of the Western Wing in the theater. Eventually, the theme of scholar-beauty romance blurs in the performance of Jiamen and buffoonery, and turns the Story of the Western Wing into an ironic comedy featuring the buffoonery of Tie and Chou.