論《萬壑清音》之丑行散齣及其變異

On the Excerpted Acts and Variation of the Clown Character in Clear Voices from Ten Thousand Straths

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

止雲居士所輯《萬壑清音》爲明代崑劇北曲散齣選集，收元、明雜劇與傳奇三十七種劇本，六十八齣劇目。此書計收兩齣丑行散齣，即《草廬記·怒奔范陽》和《紅拂記·計就追獲》。《精忠記·瘋魔化奸》雖未標腳色，卻演變爲現今重要崑丑五毒戲折子《掃秦》。此三齣與丑行相關的選齣都有流傳過程主唱腳色轉换的變異現象。《怒奔范陽》演述張飛與諸葛亮不和，私離軍營之事。雖題《草廬記》，卻非此劇齣目。此戲另有浄扮滾調選本，丑扮選齣主要流傳於崑腔系統的選集。《紅拂記》之《計就追獲》是原劇第卅一齣《扶餘换主》和第卅二齣《計就擒王》融湊後的散齣，丑扮探子，禀報李靖與高麗戰況，改變原劇小旦主唱的安排。《瘋魔化奸》地藏菩薩化身爲掛單靈隱寺的瘋和尚，點破秦檜陷害忠良的奸計。元雜劇、南戲各以正末、外應工，萬曆時期也曾有以浄扮應工的選集，清代《續綴白裘》之後的崑劇《掃秦》變爲丑行折子，曲唱皆來自《萬壑清音》的北套，更可見此選集對丑行折子發展的重要性。

Clear Voices from Ten Thousand Straths (Wanhuo qingyin) is an anthology of Ming-dynasty Northern Kunju drama compiled by Zhiyun jushi in the late Ming. It collects 37 zaju and chuanqi drama scripts of the Yuan-Ming times and lists 68 play titles. This book anthologizes two sets of excerpted (zhezi) acts led by the clown (chou) character, namely, “Angrily Heading for Fanyang” from The Hatched Cottage (AHF)and “Capture as Planned” from Red Dust (CP). On the other hand, “Becoming Cunning Spirits” from The Loyalist (BCS) has been adapted and become one of the Five Poisonous Creatures Plays, Wiping out Qin Kuai (WQK), although it is not marked as a chou play. The three chou plays reveal a change in the main singers, which took place in their circulation. AHF is a play about Zhang Fei leaving the military camp due to his discord with Zhuge Liang, which does not correspond with the play title, The Hatched Cottage. This play appears in two anthologies, one with the jing (comic) as the main character singing in the guan tune and the other one being a chou play. The latter is derived from the anthologies of plays in the tradition of Kunshan singing. CP is a set of excerpted acts combining the 31st scene, “The Change of the Lord for Fuyu,” and the 32nd scene, “Plans for Catching the Leader.” In CP, the chou character plays the role of a detective, who reports the battling progress of Goryeo to Li Jing. As such, the arrangement of the xiaodan (little female) character as the main singer is changed. In BCS, the chou character acts as a crazy monk in Lingyin Monastery, the incarnation of Ksitigarbha Bodhisattva, uncovering Qin Kuai’s conspiracy of framing the loyal subjects. In the southern drama and zaju of the Yuan, the characters of zhengmo (main male) and wai (extra) could play other roles, but in the Wanli reign-period (1573-1620) the jing character did it. In the Qing, the Kun play WQK, which is dated after Continued Making a White Fur Coat, was a set of chou excerpted acts. These arias were all derived from the northern suites in Clear Voices from Ten Thousand Straths. This phenomenon illustrates the importance of drama anthology for the development of chou excerpted acts in the Qing.