談包公戲的改編與新編──以《龍袍》和《包公打舅》為例

Revision and Creation in Bao Gong Operas of Regalia and Bao Gong Beating His Mother's Brother

地方戲中的包公戲，內容多取材自相關的戲曲或小說，很受百姓歡迎，也累積了不少經典作品，但仍時有一些改編或新編戲推出上演。筆者選取兩部近年演出的包公戲，它們是臺灣劉慧芬教授根據《狸貓換太子》改編的豫劇《龍袍》及大陸朱萬曙教授取材自歷史與傳說新編的廬劇《包公打舅》，討論其改編或新編的手法，了解其目的與效果。前者濃縮傳統劇本的好處是保留老戲精華、傳承演員藝能、吸引年輕觀眾。後者富有地方情味，沒有傳統包公戲的神奇怪離，也沒有錯綜複雜的官場糾葛，別有新意。這兩部新包公戲都獲得了觀眾的好評，也提供了老戲新編和新編戲曲的方向，是當今戲曲編劇可喜可賀的現象，值得有心人士繼續努力邁進。

Among local operas, the Bao Gong opera, whose contents mostly derived from related operas or novels, acquires high popularity among the fans of Henan Opera, harvesting a bumper classic works. Nevertheless, there are, on occasions, some Bao Gong Operas, revised or created, to be taken on stage. The author will cite two examples of Bao Gong Opera whereby to discuss the techniques of revision or creation while catching their purposes and effects: (1) Regalia, a revised Henan Opera from Civet Cat for Prince, by Prof. Liu Hui-Fen (Taiwan) and (2) Bao Gong Beating His Mother’s Brother, a creation of Lu opera, by Prof. Zhu Wan-Shu (China). In the former opera, the Chinese tradition has been concentrated into the contents while retaining the essence of the old operas to carry on the skills of the performers and to appeal to the young audience. In the latter opera, with abundant creation and local savors, there are neither extraordinary or supernatural beings nor official complicated entanglements as in the traditional Bao Gong operas. The two Bao Gong operas have both drawn favorable comments from the audience and provided a new direction toward both the revision of old operas and the creation of new operas, a phenomenon worthy of congratulations in the domain of opera writing, deserving the continual efforts of intentioned follower playwrights.