新編豫劇《劉姥姥》與原著小說之較析

Mirror and Clown–A Comparison of New Henan Opera''Grandaunti Liu''and the Original Novel

劉姥姥是《紅樓夢》中最喧賓奪主的配角，隨著她帶出賈府的興衰浮沉。小說中劉姥姥原本是取悅小姐太太的丑角，卻目睹他們的頹敗墮落，劉姥姥的目光彷彿意味深長的命運之眼，注視著每個卑微生命的潮起潮落，同時也像一面鏡子，映照出紅樓男女的各種姿態，顯現出大觀園的奢華虛幻，空中樓閣。本文對照原著《紅樓夢》程高本與〈臺灣豫劇團〉的新編豫劇《劉姥姥》，分別從敘事結構與主題思想、人物面貌、舞臺實踐等面向切入，分析新編豫劇對於原著的理解與新詮，重新檢視小說原著的深層底蘊，進窺跨界美學相互交融的成果，從而對於解讀跨文本創作獲得另一種更具意義的視域觀點。

Grandaunti Liu is the most overwhelming supporting role in novel Dream of the Red Chamber, who introduced the rise and fall of Jia clan. In the novel, Grandaunti Liu was a clown character for pleasing the ladies; nevertheless, she witnessed their decline and depravity. The gaze of Grandaunti Liu, just as an eye of destiny, which observed the ups and downs of every humble life; meanwhile, it functioned as a mirror to reflect various postures of men and women in the Red Chamber. These episodes demonstrated pompous illusion of Grand View Garden. Although the design and interpretation of Grandaunti Liu in opera appeared somewhat different from the novel, as a comic character, the role of Grandaunti Liu was not limited in buffoonery. Both novel and opera endowed this character some profound theme implications. The interaction between Grandaunti Liu and the Jia’s revealed multi- facets of the aristocratic Jia clan. This study compared novel Dream of the Red Chamber (Cheng-Gao version) and New Henan Opera Grandaunti Liu (Taiwan Bangzi Opera Company) through their narrative structure and theme ideas, character appearances, and practices. The author further analyzed the understanding and interpretation of New Henan Opera to original work, re-examined the depth meaning of the original novel; moreover, explored the consequences of cross-aesthetics interactions. Thus, the interpretations of transtextual creations could further achieve a meaningful perspective.