形象與心象——《曹操與楊修》劇本／劇場人物淬鍊和演進

Character Portrayal and Mental Imagery: Refinement and Evolution of Character in Plays of Cao Cao and Yang Xiu and Their Theatrical Adaptations

本文探究陳亞先《曹操與楊修》歷時以來三種劇本、三種劇場版本，其人物形象與心象之間的模塑、協調和往復關係。六種版本之間，存在某種「非」單一線性時間因果的編修樣態，影響交雜。人物性格的矛盾或圓熟，悲劇張力的收斂與突破，於其間閃現。當代新編戲曲雖已過渡至「編劇中心」，但在表演藝術的本質上，劇本創作尤須與劇場藝術磨合。協調過程中的增益、衝突或者失誤，涉及劇本及其搬演於各方詮釋者內在心象之預期落差，而劇本／劇場各版本的改動實況，恰能反映此人物心象／形象的淬鍊過程。相關互動的成果，攸關人物（character）、心象等理論思索，本文釐析其溝通的位置和運作基礎。

The paper explores the shaping, coordination, and interaction of character portrayal and mental imagery in Yaxian Chen’s Cao Cao and Yang Xiu across three play editions and three theatrical adaptations. These works exhibit a non-linear pattern of temporal causality throughout the processes of editing and revision. Within them, contradictions or developments in character traits, as well as the convergence and resolution of tragic tension, gradually emerge. Although contemporary“new xiqu”has increasingly adopted a“playwright-centered”approach, the nature of theatrical performance still requires close collaboration between playwrights and theater teams. The gains, conflicts, and misalignments in this collaborative process reveal discrepancies between the playwright’s intentions and the stage interpretations by various contributors. These versional changes reflect an ongoing process of refining character portrayals and constructing mental imagery. The outcomes of these interactions are crucial to theoretical reflections on both characters representation and mental imagery of performance. This paper examines the communicative perspectives and operative foundations underlying these creative dynamics.