200 7 2 49 0 試 論 中 國 戲 劇 表 演 的 多 樣 性 200 - -49-
一 -50-
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2 2 2 99 3 2-4 -53-
3 4 95 3 5 93 52 29-370 97 434-435 4 77 擡 30-3 97 92-927 -54-
3-55-
90 5 379-439 5 200-5 200 2 4 5 999 304-35 200 2-56-
二 -57-
咣 咣 咣 咣 咣 咣 咣 咣 咣 咣 咣 咣 咣 7 着 着 7 07-0 997 5 333-58-
9 10 550-9 90-99 959 3 70-7 10 959 34-59-
544-54-07 5-595 9-745 -60-
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11 12 11 92 70 12 7 47-4 -62-
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727-4 13 三 14 13 92 14 77-927 925-2007 997 50-64-
15 16 74-49 90 37 7-39 50-53 977 24b 4 372-45 20-255 959 4 29 亘 973 5 3 15 3 090-55 93 5-57 97 9-2 97 5 4-47 16 92 3 92 2 29 9 9a 35 3 53 27-3 -65-
17 17 2 5 5 93 3 477-66-
18 19 亘 20 3 97-972 18 93 0 2 19 300 20 50-43 3-67-
戲劇研究 第二期 表演 另外 陝西省禮泉縣馬寨村唐代鄭仁泰墓出土的樂舞俑 也有騎馬伎在行 進中表演的 流動性演出還有一種是借助器具如車馬於行進中表演的 文獻中稱之為 戲 車 所謂 戲車 是漢代百戲演出形式的一種 用馬拉大車行進 而藝人在 車上表演各種技藝 關於戲車 漢代典籍多有記載 如張衡 西京賦 載 爾 乃建戲車 樹脩旃 侲僮程材 上下翩翻 突倒投而跟絓 譬隕絕而復聯 百 馬同轡 騁足並馳 橦木之技 態不可彌 彎弓射乎西羌 又顧發乎鮮卑 21 漢代李尤 平樂觀賦 也記載 戲車高橦 馳騁百馬 連翩九仞 離合上 22 下 晉代陸翽 鄴中記 記載戲車表演更為詳細 設馬車 立木橦其車 23 上 長二丈 橦頭安橫木 兩伎兒各坐木一頭 或鳥飛 或倒掛 這種於行 進中的馬車上橦木進行的表演 在演藝文物中也有發現 如 9 0年在河南省新野 24 縣任營村南出土一塊高浮雕戲車畫像磚 就刻繪戲車雜技表演 圖9 河南新野任營村出土的 戲車 畫像磚 流動性演出還有一種用假面裝扮 假面化妝在古代祭祀活動中常常採用 巫 覡頭戴假面 裝扮成神靈 參與祭祀活動和演出 有時祭祀和演出在行進中進 行 如周代儺祭中方相氏驅鬼逐疫 周禮 夏官 方相氏 記載 方相氏 掌蒙熊皮 黃金四目 玄衣朱裳 執戈揚盾 帥百隸而時難 以索室逐疫 大 25 喪 先匶 及墓入壙 以戈擊四隅 驅方良 魍魎 這是說 方相氏身披 21 22 23 24 25 蕭統編 文選 上冊 頁2 總4 見 清 陳元龍編 御定歷代賦彙 收入文淵閣 四庫全書 第 420冊 卷74 頁 30b 總頁 34 收入文淵閣 四庫全書 第4 3冊 頁 b 總頁309 魏忠策 罕見的漢代戲車畫像磚 中原文物 9 年第3期 頁 3 阮元校刻 十三經注疏 卷 冊上 頁 5-68-
0-69-
26 2 26 99 2-70-
3-71-
4 5-72-
27 28 27 200 200 5 28 99 3-33 -73-
29 30 7 29 99 53 32 30 0-2 -74-
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試 論 中 國 戲 劇 表 演 的 多 樣 性 關 鍵 字 : 多 樣 性 表 演 形 態 藝 術 手 段 演 出 場 所 -76-
Research on the Versatility of Chinese Theatrical Performance Huang Zhusan Chinese traditional drama can be divided into two types. One is for entertainment on stages either in urban or in rural areas; the other is prototype drama deeply rooted in religious folkloric activities. Both have one characteristic in common: diversity, which means a wide variety of genre, style, and expression encompassed in theatrical performance and determined by their contexts. Various performing patterns reflect how mature different dramas are in different degree. The expression of entertainment oriented dramas tend to be complicated for their symbolic presentation and categorized roles shaped in performing environments, while the prototype dramas seem to be simpler, or even primitive. The composition of most of the entertainment oriented dramas conjoins elements of singing, recitation, posture, and combat movement as an organic unity by the presentation of categorized roles. Prototype dramas, however, lack the comprehensive incorporation of all performing patterns and distinct role classification. Sometimes extraneous pieces of performing patterns are still identifiable both in entertainment oriented dramas and prototype dramas. There are two types of performing spaces: fixed and movable. In the development of Chinese drama, spaces ranged from open ground and altar to palace or private hall, and pending the prosperity of theatrical activities, open stages as well as dance pavilions were erected. When forms of performance became more diversified, commercial theaters, stages in temples, and private theaters sprang up everywhere. On the other hand, performances on movable platforms or chariots have existed since the early stage of Chinese drama. The development of Chinese drama is by no means an evolutionary process; the versatile latter forms never replace the former, but co-exist. The versatility of drama performances not only mirrors the process of their development, but also reflects diversified aesthetic tastes of the audiences. Keywords: diversity performing pattern art expression performing space -77-
徵 引 書 目 99 97 93 07-0 997 5 307-33 997 97 90 92 99 93 977 3 93 420 97 959 9 43 959 999 959 200-22 92 93-78-
97 5 4-47 9 3 2-4 973-79-
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