觀看與書寫：清初、中葉旗人觀劇體驗與其俗曲創制

Seeing and Writing: Banner-men’s Theatre Experience and Folk Song Compiling in Early and Middle Years of Qing Dynasty

旗人入關之後，致力於學習、吸收漢文化，並希望同時保持本民族的騎射傳統，從而形成了文化政策上極為矛盾之態度，在對待戲曲上亦有鮮明表現。清宮大量創製、搬演戲曲，對清代戲曲之繁盛，有不可磨滅之功；另一方面，又不斷下達禁令，關閉內城戲園，限制旗人觀劇。子弟書在此背景下應運而生。旗人不滿於崑、弋腔，企圖創作出適宜自己觀賞的表演形式；子弟書的演唱方式，又避開了粉墨登臺之禁忌。子弟書是旗人觀劇之產物。題材大量借鑒了當時當紅之劇目，文詞多承襲自戲曲唱詞，唱腔亦受到崑腔、花部之影響。旗人在創作子弟書文本時，融入滿人對于戲曲故事的理解，描摹旗人生活，傳達旗人思想，從中可窺見旗人與漢族文化逐漸融合的過程。

Banner-men established Qing Dynasty in 1644. They devoted themselves to learn and absorb traditional culture of Han nationality, while they also hoped to remain their tradition of horsemanship and marksmanship, which led to an ambivalent attitude to make culture policy. The contradiction also reflected on their attitude to drama. Drama were complied and preformed abundantly in Forbidden City, which were benefit to prosperous of Drama definitely. At the other hand, the emperors ordered to close the theatre in the inner city and forbid banner-men to enjoy drama in the theatre. Zidi Shu(Youth book), a new performance that could evade the ban of theatre, were created in the special background. The banner-men drew on their theatre experience to adapting the topics, the texts and the tunes from famous drama. They melted their special understanding when compiling, so that the story reflected their lives and feeling, also displayed the process that banner-men accepted the culture of Han nationality.