| 摘要: | 崑劇於明代發展迄今已有四百餘年的歷史，婉轉優雅的曲牌音樂、高度文學性的劇本唱詞，精細、講究且規範化的舞臺程式，使崑劇流傳至今，仍被認為保有高雅的「傳統原貌」。筆者以西元2007年曾永義教授為臺灣國立戲曲學院五十週年校慶所創作的新編崑劇《孟姜女》進行研究。
《孟姜女》此中國流傳已久的民間故事，目前除傳奇二曲、京劇一本，其餘均以失佚，因此編劇曾永義教授在創作編寫時，特意保留其故事原型，希冀能藉這些故事重新呈現被國人遺忘已久的民族意識、思想和情感，以及探索省思其當代意義與價值，至於唱詞、曲牌音樂及排場部分，則全部重新設計排寫。
筆者想藉此劇探討現今的崑劇音樂與唱詞之間的關係，並傳達編劇者本身所想闡述的理念，讓這古老的傳統藝術之美，持續傳承為世人所見。
It has been more than four hundred years since Kunqu was developed in Min Dynasty in China. Viewed as the performance preserved with the traditional image, Kubqu has the tactful music of qupai, highly literary lyrics, and the delicate, strictly requested, and disciplined theatrical development. The writer of this research takes the Kunqu Mon Chiang Nu created for National Taiwan College of Performing Acts 50th Annual in 2007 as the example.
Mon Chiang Nu is a folktale pervasive in China with a long literary history, having been lost except for the Two Legend Musicals and Beijing Opera edition. Therefore, when composing this edition, the composer Prof. Chun Yun Yi tried to preserve the original narrative, hoping to evoke the national awareness, thinking, emotions and its meaning and value to the contemporary life. The lyrics, qupai music, and the theatrical arrangements are thus re-composed.
The researcher wants to investigate the relationship of the Kunqu and lyrics and tries to reveal the composer’s idea. With this research, I hope that the beauty of the traditional art could be fully presented and continued. |
