齊如山作品裡的「大鼓」研究

A Study of Qi Rushan's Da Gu Publications

說唱與戲曲藝術「互為源流，互相依存，互相借鑑」，以京劇為主要研究範疇的齊如山(1875-1962)，在整理收集京劇發展的田野資料時，也碰觸到與說唱藝術相關的範疇，收納在《齊如山全集》(五)的《鼓詞小調》就是其中之一。齊如山曾參與1913-1930年代京劇演員梅蘭芳的京劇改良運動，也著述整理京劇的舞台元素，在台灣1970年代提倡復興中華文化時，是許多人熟知的京劇理論大師，但近年來對他的研究多偏重在齊氏「京劇理論」及與協助梅蘭芳文人共同編劇的劇本上，至於齊如山對說唱藝術的看法，坊間的研究很少，本論文擬以齊如山的《鼓詞小調〈談大鼓與票友〉書稿為例，理解分析齊如山對說唱藝術的看法。結果發現，齊如山對大鼓的來源、大鼓與票友名詞的由來的關係、大鼓在北京的情形，以及大鼓唱法的分類，很明顯可以看到他以口頭訪談為基礎的書面整理，保留鮮活的說唱史料。而齊氏提出「票友」詞彙與大鼓的「關係，為後來京劇知識辭書所引用，更是把流傳於當時的口述訪談整理成書面的先行研究者，只是由於時代之故，齊如山對說唱「大鼓」藝術及藝人的認識，是有侷限的，本報告並非要藏否齊氏的觀點，只是試圖還原齊氏寫作的時空，也希望回歸1930-50年前可能是曲藝研究發者的齊如山的觀點。

Shuochang (narrative singing) and traditional Chinese operatic performing art ''derived fromeach other, depended on each other, and learned from each other.'' Qi Rushan (1875-1962), whosemajor field of study was Beijing Opera, included shuochang materials in his collection of field dataregarding the development of Beijing Opera.“Guci Xiaodiao”(folksongs sung to a big drum) fromVolumn V of Complete Works of Qi Rushan is one of them. Qi was involved in the Beijing OperaImprovement Movement, taking place during 1913-1930, led by Beijing Opera actor Mei Lanfang. Healso compiled and wrote about Beijing Opera stage elements. During the 1970s, when authorities inTaiwan promoted the revival of Chinese culture, Qi was well known as a master in Beijing Operatheories. But these days, studies on Qi have been focusing mostly on his Beijing Opera theories andlibrettos co-written by Qi, Mei and other artists. Qi's views on shuochang were rarely mentioned. Thisthesis is to explore Qi's views on shuochang by analyzing the essay ''On Dagu (Big Drums) andPiaoyou (Amateur Performers)'' from Guci Xiaodiao. It turned out that Qi retained rich historicmaterials regarding the origins of dagu and the terms dagu and piaoyou, the relations between theseorigins, and how dagu was accepted in Beijing at the time, by keeping a compiled written record ofinterviews. Qi's theory on the relations between big drums and the term piaoyou has been cited bylater dictionaries and knowledge books on Beijing Opera. Moreover, he was a pioneer in compilinginterviews into written forms, which turned into a trend at the time. However, confined by the era,Qi's knowledge of Dagu art and Dagu performers was limited. This thesis is not to criticize Qi'stheories, but to reexamine the time and place of Qi's writing, and to reunderstand the ideas of Qi, whowas probably a pioneer in researching traditional Chinese dramatic arts during 1930-1950.