1992－2005中國崑劇團體來臺演出之《牡丹亭》音樂研究

Abstract

本論文為崑劇音樂之研究，以1992年至2005年中國崑劇團體來臺演出次數最多的劇目－《牡丹亭》為主要對象，從劇本、唱腔及後場三個方面切入，藉由探討各個演出的異與同，瞭解不同劇團為適應現代觀眾於崑劇音樂所做的應變與調適，試圖窺究崑劇音樂於時代變遷下的演變軌跡。此外，對於不同演員的演唱詮釋也有討論。研究範疇含括上海崑劇團、浙江崑劇團、江蘇省崑劇院及蘇州市崑劇院，共四個劇團、六次演出。 本論文章節架構及摘要內容如下： 序論－概述中國崑劇團體來臺演出與臺灣崑劇影音資料出版的情形，從中映現了臺灣崑劇研究資源的豐富；說明本論文的相關研究概況、研究範疇及研究方法。第一章從崑劇演出的骨架－劇本著手，敘述各個演出在齣目、曲牌等內容的安排改動上，有何根本的異同。第二章透過劇本為基礎，歸納各個演出於唱腔的採譜分析結果，提出其中顯現的改編創作特點；另一方面，由演員的演唱詮釋分析，歸結不同劇團、不同演員的演唱特色。第三章則經由後場音樂的採譜分析，說明各個演出的樂隊編制大小、樂器使用特色、樂隊配器與和聲運用等，藉以審視後場樂隊於《牡丹亭》舞台演出的不同戲曲烘托效果；點示出崑劇後場的豐富變化，至今仍不斷地持續發展。結論係歸納各個演出的總體特點，劇本與唱腔方面以浙崑改動最少、江蘇省崑劇院和蘇崑次之、上崑改動最多。後場方面，配器較之和聲於崑劇的舞台搬演，有更豐富的變化運用。前者以浙崑較簡單，其他劇團均很豐富；後者以2005年江蘇省崑劇院與2004年蘇崑最有變化（運用不協和音程），1997年浙崑最傳統（齊奏），其他介於二者之間（多使用四、五度和聲音）。大致而言，近年來崑劇《牡丹亭》的舞台搬演，其劇本、唱腔逐漸傾向忠於原著（或《集成曲譜》）；反之，後場音樂則是不斷地豐富與發展。

This thesis is a music research of Kun Opera. The main body of it is based on “The Peony Pavilion” – the mostly performed repertoire by Chinese Kun Opera Troupe in Taiwan from 1992 to 2005. To begin with, three aspects of this masterpiece – script, singing style and orchestra – are analyzed in depth. By investigating the distinctions among several performances and understanding the adjustments and adaptations of Kun Opera made by different troupes to attract modern audience, it provides a way to try to examine the evolving process of Kun Opera over a period of time. In addition, different singer’s music rendition is discussed herein. The research subject consists of four troupes – Shanghai Kun Opera Troupe, Zhejiang Kun Opera Troupe, Jiangsu Province Kun Opera Theatre and Suzhou Kun Opera Theatre – and total six performances. The thesis framework is as follows: Prologue - By briefly introducing the performances played by Chinese Kun Opera troupes in Taiwan and the circulation of video/audio material of Taiwan’s Kun Opera, it reveals the considerable amount of the research resource in Taiwan’s Kun Opera. This part also describes the associated research status, scope and methods. Chapter 1 starts from script – the skeleton of Kun Opera performance, and states the fundamental disparities over the arrangement of scenes and Qupai in various plays. Chapter 2 further concludes the analyzed transcription results in singing styles from various plays, and points out the main creative adaptation ideas unveiled in the analysis based on the operatic content; on the other hand, this chapter summarizes the singing characteristics from several troupes and singers by analyzing different singer’s interpretations. Chapter 3 finally analyzes transcription results from the orchestral music in Kun Opera to explain the size of a Kun Opera orchestra, the characteristics of the instrument selection, band instrumentation and the usage of harmony, which are aimed to examine different theater effects created by Kun Opera orchestra in The Peony Pavilion. Still, the analysis of transcription results shows that the abundant variation of the Kun Opera orchestra is continuing developing in modern days. Conclusion summarizes the overall key points in various plays, indicating that the script and singing style have the least changes in Zhejiang Kun Opera Troupe; little changes in Jiangsu Province Kun Opera Theatre and Suzhou Kun Opera Theatre; the biggest changes in Shanghai Kun Opera Troupe. In the Kun Opera orchestra, band instrumentation has more abundant variations than harmony in Kun Opera plays. The former is simpler in Zhejiang Kun Opera Troupe, while complex in the other troupes; the latter encounters the most changes in Jiangsu Province Kun Opera Theatre in 2005 and Suzhou Kun Opera Theatre in 2004, whereas the Zhejiang Kun Opera Troupe preserves the tradition. The others are somewhere in-between.