4 5 6 一 明 清 傳 奇 與 當 代 崑 劇 7 8 4 2013 5 2002 480-481 6 1997 239-285 2000 115-254 2002 182-260 2004 79-133 7 276 8 269-270 -82-

15 Journal of Theater Studies 2015 1 81-116 DOI: 10.6257/JOTS.2015.15081 從 張 弘 編 劇 * 看 當 代 崑 劇 與 明 清 傳 奇 的 對 話 前 言 1947-1 1949-2 3 * 2014 5 9 1 1988 2 1982 http://www.zuni.org.hk/new/zuni/web/index.php 3 2004 2011 http://site.douban.com/120549/ -81-

4 5 6 一 明 清 傳 奇 與 當 代 崑 劇 7 8 4 2013 5 2002 480-481 6 1997 239-285 2000 115-254 2002 182-260 2004 79-133 7 276 8 269-270 -82-

9 10 11 12 13 239-285 9 255-258 89-96 108-113 10 1985 1975 3-4 2004 271-291 11 1923 1921 2002 531-548 1988 6-8 11-20 12 2001 121 13 1982-83-

14 15 16 17 270-271 1989 707 14 47 2002 10 1996 19-20 15 16 1970 1996 17 2003-84-

18 19 20 21 22 23 236 18 2003 63-125 19 2012 294-297 20 1949-1999 2000 247-274 21 1996 43-45 2012 251-255 22 2012 21-22 2012 72 23 1991 1 73-85-

24 25 26 24 25 2000 2006 26 5 2006 9 http://www.com2.tw/chta-news/2006-9/ chta9-0609-b2.htm 2014 12 23 E7 2006 10 8-86-

27 28 1 2 3 27 2006 2010 28 2009 1699-87-

二 著 眼 於 當 代 崑 劇 的 傳 奇 改 編 牡 丹 亭 與 桃 花 扇 -88-

80 29 30 31 32 29 30 31 32 2004 1995 1 86 6 1993 6 32-40 -89-

33 34 6 7 6 33 34 103 1996 9 189-208 234 235-90-

35 8 11 35 1976-1977 13319-13320 -91-

三 折 子 並 列 式 全 本 新 創 作 從 白 羅 衫 到 紅 樓 夢 1 36 173 2 36 1978-92-

37 167 168 167 38 37 38 1957-93-

181 39 40 41 39 40 41 167 2005 348 : 1988 204 5-94-

42 43 44 42 43 44 1987 63 2251-2266 2002 250-251 1955 28 35-95-

204 168-96-

207 211-97-

45 四 當 代 新 編 崑 劇 與 明 代 傳 奇 的 文 本 互 涉 梁 伯 龍 夜 品 女 兒 紅 與 臨 川 四 夢 湯 顯 祖 46 45 46 433-439 JuliaKristeva 145 2003 4-98-

47 48 288 47 48 1997 551-554 1994 68-99-

49 289 49 1997 56 1998 2-100-

249 251 256 251 252-101-

282 252 254-102-

299 五 折 子 的 挖 掘 與 實 驗 崇 禎 觀 圖 與 宮 祭 50 51 52 146 50 51 52-103- 2013 179-232 5 1987 66 3137-3144 145-151

147 149-104-

75 53 53 1957 13-105-

54 55 56 57 54 55 56 57 2002 193-195 2002 256 257 2009 53-82 111-152 2012 93 90-105 -106-

58 59 60 58 59 60 1986 2004 1965-2011 2004-107-

1/2Q 61 62 1/2Q Q Kunqu 63 1/2Q 1587 61 62 63 1/2Q 2006 2004 Q Kunqu 2011 213-218 2013 1/2Q 2012 1/2Q 2014 3-108-

64 65 結 論 64 65 1598 1995 1-109-

66 173 67 174 66 67 28 21 26 2014 328 340 344-110-

174 174 174 293-111-

從 張 弘 編 劇 看 當 代 崑 劇 與 明 清 傳 奇 的 對 話 1 2 3 關 鍵 字 : 張 弘 崑 劇 傳 奇 當 代 崑 劇 石 小 梅 -112-

A Dialogue Between Contemporary Kunqu Opera and Ming-Qing Chuanqi: Considering the Case of the Playwright Zhang Hong An-chi WANG Distinguished Professor, Department of Drama and Theatre, National Taiwan University As a couple, the contemporary Kunqu Opera playwright Zhang Hong and the famous Xiaosheng (the young man s role) Shi Xiaomei have created many outstanding roles of contemporary Kunqu Opera, of which Xu Jizu of Bailuoshan (The white coat) is the most representative. This study conducted a thorough investigation of Zhang Hong s Seek for the Unseen (a collection of eight Kunqu Opera plays), to research Kunqu Opera writing, especially focusing on the dialogue between contemporary Kunqu Opera and Ming-Qing Chuanqi. This project has two reasons to put emphasis on Zhang Hong: one, his eight plays cover every type of adaptation from Chuanqi to Kunqu Opera; they could compare with all the other types of contemporary Kunqu Opera. Second, and more deeply, Zhang Hong has a clear writing consciousness. He knows exactly that he is not just a tailor of the extensive Chuanqi stories, but also uses Chuanqi to frame his Kunqu Opera writing. Chuanqi is not only a play within a play in his Kunqu Opera. He creates new plays and roles through intertextuality and interlocution, and digs out deeper emotions and refracted thoughts. The three-way conversation of traditional Chuanqi, traditional playwrights, and contemporary Zhang Hong is worth our respect and attention. The overlapping or division of Kunqu Opera and Ming-Qing Chuanqi has been analyzed in the academic field; however, treatment of the field of writing is still in chaos. Kunqu critics often turn to Chuanqi for aesthetic standards. Playwrights frequently ignore the close partnership of Kunqu Opera and Chuanqi; they just use the Banqiang style to write Kunqu Opera. But such a narrative structure along with qupai singing cannot highlight the basis of Kunqu Opera and its deep intellectual philosophy. This project is based on Zhang Hong, and then emphasizes his Kunqu Opera writing method from the dialogue between Kunqu Opera and Chuanqi. Furthermore, this study aims at his eight plays as well as at contemporary Kunqu Opera. The chaos of contemporary Kunqu Opera writing is the background, reference, term of comparison, and in addition, the motivation of this study. Three issues are related to this project: first, Zhang Hong s creative consciousness regarding Kunqu Opera, and his dialogue with Chuanqi; second, assessing the effectiveness of Zhang Hong s writing ideas; third, the significance of -113-

Zhang Hong in contemporary Kunqu Opera. Keywords: Zhang Hong Kunqu Opera Chuanqi contemporary Kunqu Opera Shi Xiaomei -114-

徵 引 書 目 1949-1999 2000 1982 1996 2002 2002 2011 2012 1/2Q 2014 3 1955 1997 1957 2012 1998 2002 1957 1970 1996 2004 1988 103 1996 9 189-208 1/2 Q 2012 2003 5 1987 1978 2004 E7 2006 10 8 2002-115-

1989 1985 2013 2003 1994 1997 5 2006 9 http://www.com2.tw/chta-news/2006-9/chta9-0609-b2.htm 2014 12 23 2010 2009 2002 2005 1975 1997 2000 2002 2004 1995 86 6 1993 6 32-40 2013 2001 2014 2003 1976-1977 2012 2006 2012 1991 1 73 2011-116-