「後設」戲中戲：明清古典戲曲的自覺建構

Play-within-a-play: the Meta Construction in the Chuanqi and Zaju of Ming-Qing Era

從後設（meta-）視角觀察，戲中戲是非常獨特的編劇策略。既能使觀者與被觀者產生一種雙層結構，又能讓劇場反映自我，形成鏡像迴映的效果。宋、元戲曲裡雖有不少「夢戲」、「鬼戲」橋段，卻罕見作為後設戲劇／劇場明顯特徵的戲中戲。然則戲曲是從何時開始有戲中戲？戲中戲必須具備哪些要件，才能歸屬於後設戲劇／劇場的範疇？對於本具疏離性和程式性的戲曲而言，戲中戲有哪些類型？又有什麼作用？這些都是值得討論的問題。本文擬先聚焦於明清古典戲曲，檢視戲中戲的呈現方式，並思考「後設」戲中戲的存在意義。如此或可深化古典戲曲研究的層次，對於戲曲結構開啟更多的論述空間。

By means of observing through meta construction, play-within-a-play seems to be a very unique playwright strategy. It not only creates a double-layer structure for both the audience and the actors, but is also called “Mise en abyme”. There are many “dream plot” and “ghost plot” of Xiqu in the Song and Yuan Dynasty. However, very few meta construction characteristics of play-within-a-play were seen in these acts. Considering when did play-within-a-play started to exist in Xiqu? In addition, what are the essential elements of play-within-a-play that makes the performance categorized as metadrama / metatheatre? Xiqu has its own systematic convention, which made them withdrawn from the public. According to these traits, what types of play-within-a-play can be put in Xiqu? Moreover, what uses can these types be when connected to the Xiqu? This paper focused on how play-within-a-play were shown and discussed in the Chuanqi and Zaju of Ming-Qing era, especially the meaning behind the existence of using meta construction. The result of this paper hopefully will deepen the depth of researching on Xiqu and will open up more possibilities in future studies.