中國歷代偶戲考述（下）

An Examination of the Puppet Play through Ages in China (Part 2)

10.7020/JTCT.201012.0021

曾永義(Yong-Yih Tseng)

偶戲 ； 傀儡戲 ； 影戲 ； 布袋戲 ； puppet play ； puppet show ； shadow show ； sack figure show

戲曲學報

8期（2010 / 12 / 01）

21 - 61

繁體中文

對於偶戲之研究，前輩時賢雖有所論，然尚未有對其相關文獻作全面考述者。本文擷取諸家之長，參以己見，以歷代文獻資料為主要憑藉，對中國偶戲作整體性的探討，鳥瞰其發展之脈絡，並就諸家爭議之處嘗試作較合理之判定。中國偶戲三種類型，依時代排序為傀儡戲、影戲、布袋戲。論其起源與形成，最早係先秦之木偶喪葬俑。兩漢傀儡不僅承前代用於喪家樂，還用於嘉會歌舞，粗具「戲」的意義。北齊以後，以滑稽詼諧導引傀儡演出歌舞雜技，是為傀儡百戲時期。至隋煬帝「水飾」而達顛峰，並進入演出故事的傀儡戲劇時期。歷來傳說傀儡之起源，無論唐人所信之西漢初陳平以傀儡扮飾女樂之「秘計」說，或西晉人偽託之《列子》所載周穆王偃師說，就其傀儡製作技術而言，皆有其可能。至唐代，傀儡進一步用為說唱之憑藉，乃至已能演出「超諸百戲」的戲劇或戲曲。至兩宋，偶戲登峰造極。就偶戲而言，傀儡戲於前代水傀儡、懸絲傀儡外，又增加杖頭傀儡、肉傀儡、藥發傀儡。除藥發傀儡外，餘四種都能調弄百戲，搬演戲劇、戲曲。兩宋又有「影戲」，影戲的淵源形成也尚未有定論，可能直接模擬唐代俗講的畫軸和唐代用來說唱的傀儡戲。元代傀儡世家朱明藝術修養已達到人偶合一的程度。明代懸絲傀儡有腳色之別，宮中水傀儡百戲之外，另有一人執鑼在旁宣白題目，替傀儡登答贊導喝采。清代「大台宮戲」由水傀儡改為杖頭傀儡。元代影戲有紙影。明代稱影戲為燈戲。清代影戲由於諸王將軍之喜好，甚為發達，流布區域廣遠。至於布袋戲的源生，比較合理的情況當是：乾隆間，安徽鳳陽人的「肩擔戲」傳入江蘇揚州，流播頗廣，其流入福建泉州者，以其「掌中弄巧」稱掌中戲，俗稱「布袋戲」。

Researches on ouxi (puppet play) by scholars of former and present time are many, however there still lacks a thorough examination of related literature and documents. This article does a complete investigation of the Chinese puppet play, drawing merits from existing scholarships and adding my own views with documents and materials through the ages as major basis. It views the route of historical developments of puppet play and attempts to reasonably resolve certain controversial issues.The three types of Chinese puppet play in time sequence are kuilei xi (puppet show), yingxi (shadow show) and budai xi (sack figure show), respectively. Judging its origin and forming, the earliest appearance was the wooden figures buried with the dead in funerals during early Qin dynasty (221-207 B.C.). During the Han dynasty (206 B.C.-220 A.D.) puppets were used not only in funeral music continuing the previous practice, but also in singing and dancing on auspicious occasions with a rough shape of ”plays.” After the Northern Qi (557-581), puppets were lead into performing singing, dancing and vaudeville with a comical tone, thus the era of puppet variety show. This phase reached a peak at the ”Shuishi” (water ornament) during the reign of Emperor Yang of the Sui dynasty (r. 605-617), entering the era of puppet play with stories performed. Concerning legends about the origin of puppets, either the ”Secret Scheme” theory that Chen Ping (?-178 B.C.) in early Western Han used puppets to disguise as female musicians, believed by the Tang (618-907) people, or the King Mu of the Zhou dynasty (c. 1027- 256 B.C.) ”Cease Army” theory recorded in Liezi forged by the people of Western Jin (265-317), judging from the making techniques of the puppets both theories are plausible.During the Tang dynasty, puppets further became the basis of speaking and singing, performing plays and operas ”exceeding variety show.” The Song dynasty (960-1279) saw the summit of puppet play. Other than water puppets (shui kuilei) and hanging silk puppets (xuansi kuilei) from the preceding dynasties, there added cane top puppets (zhangtou kuilei), flesh puppets gunpowder (roukuilei huoyao), and medicinal initiated puppets (yaofa kuilei). Except the last item all could toy with variety show and performing plays and opera. In Song there was also ”shadow show” with its origin not yet settled in argument, possibly directly imitating the painting scrolls in the Tang dynasty Buddhist temple ”story telling” and the puppet show used in prosimetric performances during the Tang. The Yuan dynasty (1260-1368) puppet master Zhu Ming with such artistic cultivation reached the stage of unification of himself and the puppet. During the Ming dynasty (1368-1644) the hanging silk puppets were divided into different roles and the palace water puppets, besides performing variety show, featuring one person holding a gong by the side announcing dialogue and theme, applauding puppets' staging performances. The ”Grand Stage Palace Play” (datai gongxi) of the Qing dynasty (1644-1911) replaced water puppets with cane top puppets. Shadow show of the Yuan contained paper shadow and it was called lantern show during the Ming. In the Qing dynasty, due to the various princes and generals' liking of shadow show it was very prosperous and spread to a wide area.As for the origin of sack figure show, reasonable situation should be that during the Qianlong reign (1736-1796) the ”Shoulder Load Show” (jiandan xi) of Fengyang in Anhui was introduced into Yangzhou in Jiangsu. With its wide spreading, those who moved to Quanzhou in Fujian, for the sake of its ”toying cleverly in a palm,” called it ”show in a palm” commonly called ”sack figure show.”

1. ［清］陳宏謀：《培遠堂偶存稿》，據清光緒丙申（22年）1896年湖北藩署重排印本，現藏於中央研究院傅斯年圖書館善本書室。
2. (1995)。續修四庫全書。上海:上海古籍出版社。
3. ［清］吳士鴻等修：《灤州志》，據清嘉慶十五年刊本，現藏於中央研究院傅斯年圖書館善本書室。
4. 湯際亨：《灤州影戲》，《中法大學月刊》第8卷第3期，1936年1月。
5. 《盛明雜劇初集》第3冊，現藏於台灣大學總圖書館善本書室。
6. (2002)。續修四庫全書。上海:上海古籍出版社。
7. (1993)。古本小說集成。上海:上海古籍出版社。
8. (1988)。筆記小說大觀。台北:新興書局。
9. 《中華日報》，1967年6月4日～6日。
10. (1996)。四庫全書存目叢書。台南:莊嚴文化事業出版公司。
11. (1989)。中國地方志民俗資料匯編•西北卷。北京:書目文獻出版社。
12. 佟晶心：〈中國影戲考〉，刊於《劇學月刊》第3卷第11期，1934年11月
13. (1989)。中國地方志民俗資料匯編•華北卷。北京:書目文獻出版社。
14. ［清］顧祿：《桐橋倚櫂錄》，據清道光間刊本，現藏於中央研究院傅斯年圖書館善本書室。
15. ［明］陳與郊：《義犬記》，據民國戊午(七年)誦芬室仿明本精刊本，收入
16. 楊虎城：《續陝西通志稿》，據民國23年（1934年）北平來董閣鉛印本，現藏於中央研究院傅斯年圖書館善本書室，卷一八六〈藝文〉。
17. (1979)。四部叢刊正編。台北:台灣商務印書館。
18. 明何喬遠(1994)。閩書。福州:福建人民出版社。
19. 明笑笑生(1963)。金瓶梅詞話。東京:大安株式會社。
20. 明劉若愚(1985)。酌中志。北京:中華書局。
21. 清李斗(1960)。揚州畫舫錄。北京:中華書局。
22. 清李慈銘(1963)。越縵堂日記。台北:文海出版社。
23. 清李漁(1991)。李漁全集。杭州:浙江古籍出版社。
24. 清阮葵生(1985)。茶餘客話。北京:中華書局。
25. 清周詢(1987)。芙蓉話舊錄。成都:四川人民出版社。
26. 清枝巢子(1986)。舊京瑣記。北京:北京古籍出版社。
27. 清俞琰輯(1968)。歷代詠物詩選。台北:廣文書局。
28. 清胡之金吳修、周學會纂(1987)。道光晉江縣志。泉州市鯉城區地方志編纂委員會。
29. 清徐珂編(1986)。清稗類鈔。北京:中華書局。
30. 清崇彝(1982)。道咸以來朝野雜記。北京:北京古籍出版社。
31. 清張文虎編(1970)。南匯縣志。台北:成文出版社。
32. 清曹雪芹、馮其庸編注(1994)。紅樓夢。台北:地球出版社。
33. 清傅崇矩編(1987)。成都通覽。成都:巴蜀書社。
34. 清博潤修、姚光發纂(1974)。松江府續志。台北:成文出版社。
35. 清富察敦崇(1969)。燕京歲時記。台北:廣文書局。
36. 清無名氏、顧鳴塘標點(1989)。乾隆巡幸江南記。上海:上海古籍出版社。
37. 清黃竹堂(1982)。日下新謳。文獻，12，187。
38. 清楊文鼎修(1969)。灤州志。台北:成文出版社。
39. 清楊燮、林孔翼輯錄(1982)。成都竹枝詞。成都:四川人民出版社。
40. 清蒲松齡(1986)。蒲松齡集。上海:上海古籍出版社。
41. 丁言昭(1991)。中國木偶戲史。上海:學林出版社。
42. 王雲五編(1974)。四庫全書珍本五集。台北:台灣商務印書館。
43. 任訥(1984)。戲弄。上海:上海古籍出版社。
44. 江玉祥(1992)。中國影戲。成都:四川人民出版社。
45. 江武昌(1990)。台灣布袋戲簡史。民俗曲藝，67-68，88-126。
46. 李十三史料研究組編(1987)。清代戲劇家李十三評傳。西安:陜西人民出版社。
47. 李家瑞(1982)。傀儡戲小史。李家瑞先生通俗文學論文集，臺北:
48. 周貽白(1960)。中國戲曲論集。北京:中國戲劇出版社。
49. 婁子匡(1989)。新年風俗志。上海:上海文藝出版社。
50. 曹振永(1988)。皮影戲藝術的源流、沿革和演變。甘肅戲苑，1
51. 陳訓正纂修(1970)。定海縣志。台北:成文出版社。
52. 陳憶蘇(1992)。碩士論文(碩士論文)。成功大學歷史語言研究所。
53. 隋樹森編(1964)。全元散曲。北京:中華書局。
54. 黃純青監修(1951)。台灣省通志稿。台灣省文獻委員會。
55. 路工編選(1982)。清代北京竹枝詞十三種。北京:古籍出版社。
56. 熙編注(1983)。福建戲史錄。福州:福建人民出版社。
57. 羅竹風編(1990)。漢語大詞典。上海:漢語大詞典出版社。
58. 嚴一萍選輯(1968)。原刻影印百部叢書集成。台北:藝文印書館。
59. 顧頡剛(1983)。中國影戲略史及其現狀。文史，19，109-136。

1. (2015)。從明人「當行本色」論說「評騭戲曲」應有之態度與方法。文與哲，26，1-84。
2. (2015)。戲曲劇目之題材內容概論。文與哲，27，1-102。