| 题名 |
論白蛇戲曲年畫未見於今傳明清傳奇的「劇情」 |
| 并列篇名 |
On the ＂Unknown Plot＂ of the White Snake Legend in the Woodblock Prints of Theater Scenes |
| 作者 |
林芷瑩(Lin Chih-ying) |
| 关键词 |
斬蛇 ； 白蛇故事 ； 年畫 ； 戲曲年畫 ； snake killing ； the White Snake Legend ； woodblock prints ； woodblock prints of theater scenes |
| 期刊名称 |
民俗曲藝 |
| 卷期/出版年月 |
207期（2020 / 03 / 01） |
| 页次 |
61 - 110 |
| 内容语文 |
繁體中文 |
| 中文摘要 |
戲曲年畫為舊時戲曲故事深入民間的管道之一，年畫中的人物形象多與舞臺造型直接相關，使人一望即知所繪故事內容。本文以白蛇戲曲故事年畫為分析對象，首先以「斬蛇」這一舞臺未見卻普遍見於說唱曲藝的情節，證明年畫取材亦有來自說唱曲藝的素材。既為說唱，人物亮相造型等構圖無從參考舞臺裝扮，當由畫師自行創發；同時也因節日誌慶與驅邪的目的，對戲曲故事的畫面進行相關元素的增添或改作。而後討論楊家埠一組二十四幅的白蛇戲曲連環年畫，指出此圖組白蛇仍具「妖物」形象，在白蛇戲曲的發展中仍在較為早期的階段，與觀眾期待具有人情的情節發展走向不合；其中未見於後來戲曲舞臺的情節，有可能是畫師因為「連環圖畫」提供了充足的創作空間來敘說完整故事脈絡，加上題字可補充畫面意涵，故而大膽在眾人熟悉的情節外，另行創發的。若此則戲曲年畫雖看似取材於戲曲故事或舞臺人物造型，但非全然附庸於戲曲，而是具有主體性的載體。 |
| 英文摘要 |
The woodblock prints of theater scenes are a vehicle introducing theatrical stories into folk life. Images of many characters are directly associated with their profile on stage that audience can recognize the story at a glance. In this study, I analyze the woodblock prints that feature the White Snake Legend, starting with the ＂snake killing＂ plot that is unknown on stage but popular in the shuochang chantefable genre. I argue that the woodblock print scenes were also inspired by the shuochang chantefable. Because shuochang is a narrative intermittent with prose and verse, there is no visual clues for the painters/carvers to refer to; they have to depend on their own creativity. At the same time, they adapt the theatrical scenes, adding or altering elements in the picture layout to suit the purpose of festivity or evil-dispelling exorcism. Secondly, I discuss a series of 24 White Snake woodblock prints. I point out that the White Snake in this series still retains her demonic nature, indicating it to be a survival from the narrative's early stage of the development of the story and deviates from the audience's expectation of human warmth. Some plots that are not found in later theater stages are very likely the creation of painters. With the narrative framework constructed by pictures and corresponding captions, the painters are allowed ample liberty to insert a new plot. In this case, though woodblock prints of theater scenes seem to draw their material from theatrical scripts or stage character profiles, they are not mere subordinates to theater, but a vehicle with individual subjectivity. |
| 主题分类 |
人文學 >
藝術 |
| 参考文献 |
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