【作者】 陈春苗；

【导师】 周秦；

【作者基本信息】 苏州大学 ， 戏剧戏曲学， 2008， 硕士

【摘要】 元雜劇、清全本傳奇，以至明清時崑劇折子戲的串演情況,今天已無從得見。但通過梳理、分析有關劇本，探討文本中與舞台相關的內容，仍可得到一定了解领?當代演出,因有攝錄設備而往往留有影音資料,對於展示從前的舞台演出面貌，亦有很大幫助^去的戲曲藝術研究,多局限於文本,隨著研究條件的改善,舞台演出研究應成為今日一重要課題。本論文首先選取以「朱買臣休妻」故事為題材的劇本，包括元雜劇《朱太守風雪漁樵記》、《負薪記》,明傳奇《爛柯山》全劇文本、明清崑劇折子戲台本等，比較不同時期的劇本情節,探討當中的編寫策略及演出樣式變化,尤其注意台本的有關內容撐倪M而研究當代兩個崑劇院團整編的全本戲，即上海崑劇團的《爛柯山》與江蘇省崑劇院的《朱買臣休妻》,分析台本、演出影像資料和訪問有關編創人員,從而探討傳統崑劇舞台美學如何傳承與發展,以及如何面對當代觀眾。中國戲曲劇本的編寫,本來有案頭本與場上本兩路撐耐ㄟ^對《朱太守風雪漁樵記》與《負薪記》劇情的比較,點出後期元雜劇文本已有注重舞台效果的傾向。明清傳奇雖亦多案頭本,但其格式結構,已較元雜劇更多考慮到演出情況。故研究傳奇文本,對崑劇舞台美學的要求,或早期的演出情況,會有更多了解。對全本傳奇《爛柯山》康熙抄本的研究,除了可完整地看到傳奇系統「朱買臣休妻」的情節外,並可了解到當今流傳下來的折子戲，缺少了那些齣目,又保存了那一些。論文認為此劇全本傳奇各齣目的存與佚,當與演出效果有關;而流傳下來的折子對原著的更動，也應是一種舞台策略。通過對此劇全本傳奇與折子戲的比較分析,論文指出如何加以增刪改編更是一個重要課題。中國戲曲舞台，向以演員為核心；折子戲的興起,主要是要突出演員的表演和提高行當演出規範的專業性。論文指出︰就整編全本戲來說,傳字輩藝人早期串演折子戲的辦法,雖保存了表演的精華,在劇本的題旨與人物的完整兩方面,卻不無缺失。故當代崑劇整本戲的整編,便應有更周詳的思考。除了要保存崑劇的表演精華外,還應考慮到主題與人物的完整性及今日觀眾的觀劇心態。故當代整本戲不能只是折子戲的串演，而必須從舞台演出的各方面進行加工。更多还原

【Abstract】 It is now very difficult, if not impossible, to perceive how the za-ju opera of Yuan dynasty, the chuan-qi opera and the“highlighted act”plays of Ming and Qing dynasties were presented on stage. Nevertheless, by studying the scripts (especially those written for stage performance and not only for desk-top reading) and paying attention to the concerned aspects in them, we could still get a basic understanding. Such an approach would somewhat revert the long-standing orientation in the study of Chinese opera which has been dominated by text study. Nowadays, as performance can be recorded with audio-visual equipments, the materials thus compiled are very useful in furthering the study. The present thesis is a research along this orientation. The kunqu piece“Zhu Maichen divorcing his wife”is chosen as the theme of investigation. Several scripts of the piece, namely“The Story of Fishermen and Woodcutters”,“The Story of Back-carrying Wood”in Yuan za-ju,“The Lan Ke Hill”in Ming chuan-qi and several Ming and Qing“highlighted act”scripts of the same play are identified and analysed so as to enquire into the changing conceptions in writing these scripts as well as into the concerned stage performance. Then, the study focuses on two contemporary adaptations of the piece,“The Lan Ke Hill”by Shanghai Kunqu Opera Troupe and“Zhu Maichen Divorcing his Wife”by Jiangsu Province Kunqu Opera House. Their scenarios and presentations on stage through audio-visual records are accordingly examined. Interviews with concerned playwrights and actors are also conducted. The objective is twofold, to enquire into the traditional stage aesthetics of kunqu opera and to explore the strategy of producing kunqu operas for the modern audience.In the history of Chinese opera, there are two kinds of script writing, each serving a different purpose: one for desk-top reading and the other for stage presentation. In comparing“The Story of Fishermen and Woodcutters”and“The Story of Back-carrying Wood”, it is found that the latter, written in a later period, is conceived more from the angle of stage presentation. Although many more Ming chuan-qi scripts were written for desk-top reading purpose, their format nonetheless shows that they have taken into consideration the conditions pertaining to stage performance, thus putting them in rather sharp contrast with the Yuan za-ju. Therefore, by studying the scripts of Ming chuan-qi, it is possible to obtain a basic understanding of the early stage aesthetics of kunju opera. It can also shed light on how various aspects in the performance evolve through time. This thesis further claims that the keeping or abandoning of the acts in a play were quite often a result of the effect in stage presentation. By examining an existent manuscript, the Ming chuan-qi“Lan Ke Hill”, a copy made during the Kang–xi era in Qing dynasty, which is the only such complete version we can find to-day, the following two facts can be ascertained. (1) There are plots and role-characters that do not appear in later adaptations. (2) There are acts having not been transformed into“high-lighted act”plays for stage. These two facts might reflect the concerned artists’tactics of adapting the script into stage performance and are thus worthy of more profound study. Such a study will be of great reference value to those who wish to inherit the art and adopt it to the contemporary stage. On the other hand, as it has become quite well known, the“highlighted act”plays were the acts that were“highlighted”mainly for the purpose of improving and specializing certain roles’acting or performing skills on stage. The major concern was to show the splendid art in a more focused manner. Therefore, in the early twentieth century, when the artists of the“chuan”generation inherited, adopted and performed the“highlighted acts”of kunqu opora, although they had the merit of well preserving the tradition of the Chinese opera of placing the actors as the centre of the art, some shortcomings were nonetheless evident, in that the overall theme that the full story should carry and the character of the roles in the acts became blurred. The contemporary adaptations of Ming chuan-qi have to notice these shortcomings, although their scripts are mainly based on the“highlighted act”plays, they should also take into consideration factors relating to modern theatre.更多还原