目錄／
封面／Book Cover 目錄／Content 總編輯的話／From the Editor in Chief 導言／Introduction 《亂紅》劇本 附錄1 影音精選／Video Clips 附錄2 劇作家戴君芳、施如芳、沈惠如、朱挈儂簡介 附錄3 二分之一Q劇場簡介／1/2 Q Theatre 附錄4 首演資 附錄5 舞臺設計圖與燈光設計圖／設計師簡介 附錄6 《中國時報》專欄評論 附錄7 第十一屆台新獎評論 台灣現代戲劇 表演影音資料庫簡介／About ETI, Electronic Theater Intermix in Taiwan 14. 版權／Copyright 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.
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總編輯的話
《表演臺灣彙編：劇本，設計，技術，1943~》Performing
Taiwan:
Script, Design, Stagecraft, 1943– 是一套以「台灣現代戲劇曁表演影音資 料庫」（eti-tw.com）典藏爲基礎的電子叢書，由中央大學黑盒子表演 藝術中心和戲劇曁表演研究室協力完成，文化部補助出版。為了在電 子閱讀的新時代，更全面地捕捉劇場
個古老表演媒介的立體風姿，
套叢書透過新的編輯概念與發行平台，不 調影音資
收納了文字書寫，更強
的同步閱讀，在每本電子書裡都收入一定比例的影音片段
或圖像劇照。 2010年，我國的《文化創意產業發展法》在「刪減藝術補助」與「創 意產業升級」和「經濟加
」的經濟語境中登臺亮相。臺灣的表演藝
術從業者熱情無限，看似活力迸發的文化一隅，但專業化尚未完成， 距離產業化仍待努力。可是在文創的全球語境中，我們又似乎很難置 身其外。
部叢書的出版，無非是希望在探索臺灣表演藝術邁向專業
化甚至產業化的過程中，累積一些發展的資產，嘗試開發劇場以外的 智慧財產創意再生產。
跨界創意下的分館別類 《表演臺灣彙編》包含「戲劇劇本館」、「戲曲劇本館」、「表演書 亂紅
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寫館」、「設計館」與「技術館」五個主題，分別從表演文本、設 計、技術三個面向，展現表演藝術在臺灣七十餘年的創作軌跡，彌補 過去乏於書寫紀錄與發行不足的遺憾。不論是戲劇、戲曲、偶戲、音 樂劇、肢體劇場或舞蹈等各類表演藝術作品，都可藉由
一叢書的出
版而打開一扇閱讀、賞析的窗口。 「戲劇劇本館」、「戲曲劇本館」和「表演書寫館」歸屬於表演文本 面向，
三個館別用以架構臺灣近七十年的表演文本內容。臺灣的創
作者們以勇於突破既有框架見長，經常融合多種不同表現元素來創造 獨特的作品，
樣的分類方式其實難以收納臺灣表演藝術創作者自由
多元又紛異的創作形式。為了展現
個特色，我們遂決意放棄傳統的
編輯概念，不由編輯臺對作品逕行分類，而是讓創作者依據其作品的 原始發想，自行決定作品歸屬的館別。如此，讀者可能會在「戲曲劇 本館」裡，讀到採用戲曲元素卻又更像現代戲劇的作品，或是在「戲 劇劇本館」裡發現反其道而行的其他跨界創作。又因為戲劇或戲曲也 還不足以歸納其他既不採取文本書寫、甚至沒有任何對白的表演文 本，我們便又規劃了「表演書寫館」，邀請創作者（如導演或編舞） 根據已經完成的舞臺實踐，進行專題書寫以典藏過去難以被流傳的精 彩表演。 除了表演文本的書寫之外，我們另外規劃了「設計館」與「技術 館」。臺灣表演藝術近三十年累積了一批專業的設計者與劇場技術工
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作者，他們的創意，同樣是形構臺灣劇場生命力的要素。然而，他們 也是觀
最不熟悉的一群劇場工作者。為了提升
兩個部門工作者的
創意智慧再運用，也為了加強表演藝術專業知識的流通，「設計館」 與「技術館」邀請國內資深或具有獨特技術的設計者與技術工作者， 根據其長期的專業經驗，
述深入淺出的專題電子書，爲臺灣表演藝
術的發展足跡留下完整的紀錄。
公開展演與影音紀錄之選錄雙軌 《表演臺灣彙編：劇本，設計，技術，1943~ 》最重要的選錄標準是： 被選錄者必須是已經公開演出過的作品。以臺灣的表演藝術生態而 言，一個作品能
搬上舞臺，必然已經取得一定的社會資源，
些資
源的取得，可以視為是對該作品與其創作者和製作團隊的肯定與選 擇。 除了少數幾部無法取得任何演出影音紀錄的早期經典之作，我們另以 是否能取得作品演出影音片段的授權，爲收入本叢書的另一考量標 準。影音與書寫既然是
部雲端叢書的關
字，我們期待
樣的編輯
概念，能較為據實地反應臺灣舞臺的繽紛風景，更能啓動劇場的綜效 機制。 在以上兩項標準之外，我們儘量兼顧資深與年輕工作者的新創與經典 作品，希望獲得更多表演藝術工作者的認同，提醒他們在製作演出之 餘，留意表演藝術作品如何以其他形式再生產，爲日後的產業化奠定 亂紅
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紮實基礎。
致謝與致敬 在編輯過程中，我必須感謝所有創作者、製作團體、「國立中正文化 中心」與「財團法人公共電視文化事業基金會」的支持與授權；感謝 王
玲教授、林鶴宜教授、石婉舜教授、施如芳女士、劉微明女士、
藍貝芝女士為首批出版的六部劇作
寫導言，提供專業而繞富趣味的
閱讀切入角度。感謝提供我們法律諮詢，甚至爲我們規劃表演藝術智 財權法律工作坊的陳思宏律師、湯其瑋律師與李友琦女士；臺灣的表 演藝術如果想要進行產業升級，如何在創意內容共享與智財權的界定 之間找到平衡，是我們共同的課題。特別感謝石婉舜教授在出版林摶 秋先生劇作的過程中不憚煩勞，與編輯群往復討論，並提供各式編輯 相關資
，以及李育娟教授擔任我們的日文翻譯諮詢；感謝優秀的英
文翻譯團隊許仁豪博士、劉微明女士、司徒嘉怡博士、Frank
Episale
先生，沒有他們的心力投注，我們幾乎不可能在急迫的執行期限內， 完成主要英文譯文，爲日後的國際發行奠定基礎。
《表演臺灣彙編》叢書總編輯，2013年10月
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Performing Taiwan: Script, Design, Stagecraft, 1943– is an e-book series based on works archived by the Electronic Theater Intermix in Taiwan (eti-tw.com). Funded by Ministry of Culture, this project is a collaboration between the Performance Center and the Research Center for Theatre & Performance Studies at National Central University. In this era of e-books, we hope to engage a new editorial concept and platform of distribution intended to fully capture the three-dimensional splendor of the age-old medium of stage performance. That is, while providing the reader with written text, we also emphasize a side-by-side presentation of audiovisual information, incorporating a significant number of recorded performance segments and images. In 2010, in an economic atmosphere in which arts subsidy cuts were offset by talks of creative industry upgrades and a value-added economy, the Law for the Development of the Cultural and Creative Industries began to take effect in Taiwan. While the Taiwanese
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performing arts community responded with seemingly re-energized fervor, it is evident that performing arts in Taiwan barely makes a small enterprise; professionalization in the performing arts scene is also still in progress, and so it is unrealistic to expect industrialization in the near future. At the same time, Taiwan cannot afford to be absent from the global discussion of cultural and creative industry development. The aim of this collection, then, is to explore the possibility
of
creative
intellectual
property
re-production
of
performing artworks outside the stage, and to accumulate some building blocks and resources for further development in the performing arts community's journey toward professionalization and eventual industrialization in Taiwan.
Performing Taiwan includes five series of publication: the Drama Script Series, the Xiqu (Chinese Opera) Script Series, the Performance Text Series, the Design Series, and the Stagecraft Series. With these five series, we hope to fill in some blanks in the insufficient and poorly distributed written records of the past, and to present the overall creative trajectory of the performing arts in Taiwan over the last seventy-odd years, from three angles: performance text, design, and stagecraft. With the publication of this collection, we hope to 亂紅
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open up a window of reading and appreciation for all modes of performing arts, from theatre to operatic Xiqu, puppetry to musical theatre, physical theatre to dance. The Drama Script Series, the Xiqu Script Series, and the Performance Text Series are text-based categories used to present different aspects of the content of Taiwan's performing arts during the last seventy years. However, such categories are insufficient for reflecting the diverse creative modes of performing artists in Taiwan, who are known for breaking boundaries, often merging elements from different genres and disciplines to create unique works. To highlight this characteristic, we decided to discard the traditional editorial division of labor and allow the creators to designate the categorization of their own works. Therefore, it is possible for the reader to come upon plays that make use of traditional Xiqu elements but read more like modern theatre in the Xiqu Script Series, or to discover boundary-crossing works in the Drama Script Series. Also, in service of performance texts that fall outside the realms of drama and Xiqu—works that may not be contingent upon written text or speech—we planned the Performance Text Series. In this series, we invite creators (such as directors or choreographers) to write about the staging and realization of their works in order to archive and 亂紅
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record quality performances that the reader would otherwise be unable to access. In addition to written records of performance texts, the Design Series and the Stagecraft Series are also in the works. Over the past thirty years or so, the performing arts community in Taiwan has cultivated a great army of professional designers and technical theatre specialists. Their creative endeavors are just as much a part of the lifeblood of the Taiwanese stage as other artists, and yet they are the performing arts workers least familiar to the general public. In order to facilitate the reutilization of the creative solutions and experiences of these two contingents, and to foster the distribution of professional knowledge in performing arts, we invite experienced designers and technical theatre workers specializing in unique stagecraft to compose on-topic, accessible e-books so as to complete the records of the development of performing arts in Taiwan.
The most basic selection criterion for the works of Performing Taiwan: Script, Design, Stagecraft, 1943– is that each work must have been publicly staged prior to publication. In the Taiwanese performing arts scene, a play must first garner certain social resources in order to 亂紅
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receive a ticketed, public production. The acquisition of such resources can be seen as endorsement of and appreciation for the work, its creative and production teams. With the exception of a few works of classics for which no such records are available, our ability to obtain authorization for the use of audiovisual documentation of a work in performance is a deciding factor for the work's inclusion in the collection. Since audiovisual content and written text are the two key elements of this online collection, we hope that, by adhering to this editorial principle, we may more accurately reflect the diverse flavors of the Taiwanese stage and trigger a synergistic mechanism in Taiwan's performing arts. Aside from the above principles, we strive to maintain a balance between new works by up-and-coming artists and classics by veterans of the stage while building the collection. Hopefully, this will court recognition from more performing arts workers and remind them to take note of alternative approaches to reproducing works of the performing arts in order to build a solid foundation for future creative industries.
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As we move forward in the editorial process, we must thank all of the artists, the production companies, the National Chiang Kai-shek Cultural Center, and the Public Television Service Foundation for their support and endorsement. We would also like to thank Dr. Ayling Wang, Dr. Ho-yi Lin, Dr. Wan-shun Shih, Ms. Ju-fang Shih, Ms. Wei-ming Liu and Ms. Betsy Lan for penning introductions to the first six works of the collection, offering informative and inspiring entry points for the reader. We thank Mr. Simon Chen, attorney-atlaw, Mr. Chi-wei Tang, attorney-at-law and Ms. Yo-chi Li for valuable legal advice. Many thanks again to Dr. Wan-shun Shih for tireless discussion with the editorial team regarding the publishing of playwright Tuan-chiu Lin's work, as well as for offering editorial advice and relevant information. Thanks also to our Japanese translation consultant Dr. Yu-jiuan Li, and four devoted English translators, Dr. Jen-hao Walter Hsu, Ms. Wei-ming Liu, Dr. Chiayi Seetoo, and Mr. Frank Episale, without whose hard work it would have been nearly impossible for us to produce the English texts that would serve as the basis for future international distribution within such a limited timeframe.
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Katherine Hui-ling Chou Editor in chief of Performing Taiwan, October 2013
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導言
文／林鶴宜（國立臺灣大學戲劇學系專任教授兼系主任）
明時期享樂主義大盛，明清鼎革之際，文人才被迫從追歡逐樂的酣 夢中驚醒，面對國破家亡的沈痛。清人孔尚任（1648-1718）的《桃花 扇》以復社領袖候方域跟江南名妓李香君的情事，結合他受奸臣阮大 誣陷的遭遇，帶引出明王朝覆滅的歷史場景，抒發興亡之嘆。 《亂紅》在《桃花扇》的基礎上，展現了創意十足的美學理念和手 法，別立主軸，探討古今知識分子面臨時代巨變的精神處境，令人耳 目一新。全劇分〈鏡中人〉、〈阮大 花的名字〉、〈優人 散去的
燕子啣恨〉、〈李香君 桃
席〉、〈侯方域 文人殘筆〉、〈尾
聲訪翠〉六個段落。情節架構選擇以「人物」為主軸，而非「事 件」。透過對古典原著的
移、剪接、重新排列，以及對主軸人物的
選擇和架構的設計，編導表現了
對「歷史」以及「南明興亡」的個
人觀點，賦予舊作全新的主體和生命。 劇中幻設「鏡中人」一角，他和「侯方域」常「前後交錯」或「重 疊」出現。大部分的時候他們各說各話，鏡中人注視著「侯方域」的 一舉一動，「侯方域」卻看不到他；當「侯方域」跟他對話，便成了 侯的自言自語。他是「侯方域」具象的「精神存在」，是他的心理意 亂紅
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識，痛悔之心，是
他「看清楚自己」的力量，也是帶領觀
探
侯
方域精神世界的「回憶之眼」。 舞臺上的「侯方域」，也不全然是一個真實的角色，他是鏡中人「回 憶中的當下」−一個不斷往前發展的角色。侯方域的回憶是那麼慘不 忍睹，難以面對！需要鏡中人時時點醒。鏡中人理性而全知，他已走 過結局，正從結局回頭
徊觀望。換言之，侯方域已分裂為異時空，
無法溝通的兩個部分。 導演戴君芳安排歌仔戲小生擔任鏡中人一角，（事實上還包括著名歌 仔戲編劇施如芳加入編劇群；以及後場歌仔戲樂師們參與伴奏。）刻 意在精緻而嚴謹的崑劇中，置入「異質」元素，營造強烈的突兀感。 同為傳統戲曲，以崑劇小生擔綱的侯方域，和歌仔戲小生飾演的鏡中 人，二者在造型、語言、唱腔、身段表演各方面都明顯相異。候方域 分裂的自我，於是在表演質地的異化下，迸發出來，為本劇帶來了多 層次的時空對話。 種由「崑劇」和「歌仔戲」劇種並置，所引發的似同而實異，似異 而實同的矛盾感，不
提醒、
掘了創作者和觀者很真切的文化接受
經驗，更寫照了幾百年來，臺灣島做為中國的「外界」，如何亦步亦 趨，艱困而又不稍懈怠的承受漢文化，甚至寫照了崑曲在臺灣的傳承 和流傳。更進一步說，它寫照了《亂紅》 家劇院實驗劇場」演出的 亂紅
齣實驗崑劇，在臺北「國
件事。（裡頭包括大陸優秀演員吳雙，所 潑墨書房
有的臺灣崑劇演員都受過大陸崑劇老師的教導）大陸和臺灣，兩者的 關係那麼緊密，實際的切身感知卻又各自不同。歸根究柢來看，
齣
戲投射了今天知識分子面對時代的心靈困境。兩岸分裂，我們時而臺 灣意識高漲，時而又為
樣的分裂感到心痛。我們所承受的文化，使
我們和侯方域一樣，成為自我斷裂的個體。 除了思想的深刻和手法的巧妙，《亂紅》的戲劇語彙饒富創意又犀 利，由此引發的豐富想像力更是支
其質地的重要憑藉。一些在原著
劇本中，容易被忽略的文詞，因為改變了位置和情境，頓覺發光發 亮，令人珍愛了起來。 演員的表現更是可圈可點，楊汗如（飾侯方域，臺灣崑劇小生）、李 佩穎（飾鏡中人，臺灣歌仔戲小生）、吳雙（飾阮大
，大陸崑劇花
面）細膩而精準的演出，構成勢均力敵的鐵三角，為
齣戲注入了動
人的張力。
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An atmosphere of hedonism permeated the Ming Dynasty society towards the end of its reign. It was not until the downfall of the dynasty that the Ming intellectuals were shaken out of the haze of idle pleasure to face the pain of a nation lost. Qing playwright Kong Shangren (1648 – 1718) wrote The Peach Blossom Fan for such a purpose: in the play, Kong interwove the love story between Fu She (note ) leader Hou Fangyu and Li Xiangjun, the famous Jiangnan courtesan, with Hou’s fall from grace at the hand of the devious politician Ruan Dacheng. In doing so, Kong set the historical scene for the overturning of the Ming dynasty, and ruminated upon the nature of nationhood and power. Fu she: an academic and political society established during the final years of Ming Dynasty.
Building upon the groundwork of The Peach Blossom Fan , Peach 亂紅
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Blossom Rain is endlessly creative in its aesthetic ideas and expressions. Uniquely and refreshingly, its main through-line explores the spiritual condition of intellectuals in both historical and modern times as they face the uncertainties of a changing age. The play is in six segments: “Man in the Mirror,” “Ruan Dacheng: The Swallow’s Regret,” “Li Xiangjun: The Name of the Peach Blossom,” “The Actor: The End of the Party,” “Hou Fangyu: The Scholar’s Pen” and “Epilogue.” The plot is constructed around characters, not events. The director and writers were able to express their personal views towards history and the rise and fall of Southern Ming Dynasty, and to breathe new life into an old text, with the following revisionist choices: the character-based plot structure, the decision to focus on Hou Fangyu as the main character, and the rearrangements of the classic text of The Peach Blossom Fan . In the play, the newly added character, the Man in the Mirror, often appears onstage simultaneously with Hou Fangyu, either crossing Hou’s paths in the blocking or following him like a shadow. Most of the time, each character speaks only to himself; while the Man in the Mirror scrutinizes Hou’s every move without Hou’s awareness of his presence. When the audience sees Hou conversing with the Man in the Mirror, Hou appears to be talking to himself. The Man in the 亂紅
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Mirror is the physical manifestation of Hou’s spiritual existence (consider alter ego?); he is Hou’s psychological awareness, his regret, the force that makes Hou take a sobering look at himself, and the “memory’s eye” through which the audience can explore Hou’s inner world. On the other hand, the Hou Fangyu the audience sees onstage is not necessarily a true, solid character. Instead, he could be seen as a character in a perpetual state of evolution; he is the “present tense” of the Man in the Mirror’s reminiscence. Hou’s memories are so desolate, so impossible to stomach that he needs the Man in the Mirror to break him away and offer some clarity. The Man in the Mirror, on the other hand, is rational and omniscient; he has already passed through the end, and is lingering at the edge of the other side, looking back. In other words, in the play, Hou Fangyu has been split in two, each of whom is stuck in his own timeline and cannot communicate with the other. As the director, Dai Junfang cast a Taiwanese opera actor in the xiaosheng role to play the part of the Man in the Mirror; she also brought noted Taiwanese opera playwright Shih Jufang into the playwriting team, and included Taiwanese opera musicians in the
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band. Such deliberate insertion of heterogeneous elements within the delicate and rigorous Kun opera tradition creates a jarring contrast. While both characters were played by classically trained actors, the actor playing Hou is trained in the Kun opera xiaosheng role, whereas the Man in the Mirror is portrayed by an actor trained as a Taiwanese opera xiaosheng . The two role types are clearly different in costume, dialect, vocals and physical performance. In this alienating combination of acting styles, the splitting of Hou Fangyu and his alter ego is brought to the forefront, creating a multilayered dialogue across time and space within the play. Through the juxtaposition of Kun opera and Taiwanese opera, the play intermingles similarity and disparity, triggering a sense of contradiction and ambivalence. In this way, the play hints at and digs into (reconsider the verbs) the experience of cultural acceptance of both the creative team and the audience; it serves as a metaphor for Taiwan’s status as an outlier of China, and the island’s struggling yet resolute acceptance of Chinese culture in the past few centuries; the play also reflects and exemplifies the inheritance and development of Kun opera in Taiwan. Furthermore, the play references the fact that an experimental Kun opera piece was staged at the National Experimental Theatre in Taipei. All of the Kun opera actors in the 亂紅
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play, including mainland Chinese actor Wu Shuang and all of the Taiwanese actors, had all been trained by Kun opera artists in mainland China. The relationship between China and Taiwan is so closely connected, and yet those experiencing the connection firsthand may feel quite different. At the very center, this play is a projection of the spiritual conundrum facing the Taiwanese intellectual community today. After the political split in 1949, the Taiwanese intellectuals are at the same time promoting the importance of independence and lamenting the split. The culture we inherited has rendered us all into Hou Fangyus— individuals with inner cracks and splits. Aside from the depth of thought and ingenuity of technique, Peach Blossom Rain also features a sharp and innovative theatrical vocabulary, triggering a wealth of inspiration that served as an indispensible background for the play’s texture. The hidden gems of some nuances from the original text of Peach Blossom Fan , easily overlooked in their original plot arrangement, begin to shine in their own right in this new rendering of plot. The performances of the actors are even worthier of note. Yang Hanru (Kun opera xiaosheng from Taiwan, playing Hou Fangyu), Li
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Peiying (Taiwanese opera xiaosheng , playing Man in the Mirror) and Wu Shuang (Kun opera actor in the hualien role from China, playing Ruan Dacheng) each brings precision and intricacy to his/her performance, forming an evenly-matched triangle and injecting an energizing energy into the play.
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《亂紅》劇本
編劇／戴君芳、施如芳、沈惠如、朱挈儂 原著 【清】孔尚任（ 【明】袁于令（
∼ ∼
）《桃花扇》 ）《西樓記．泣試》
劇情簡介 「亂紅如雨，塵緣相誤，醉漾桃花深處。」 改編自清．孔尚任《桃花扇》傳奇 明朝最後一個皇帝崇禎自縊的那天，據說是平淡無奇的。就是因為太 過平靜，讓人忽略了即將鋪天蓋地、奔騰而來的動盪。 侯方域坐在案前，為
巨大又無聲的斷裂振筆疾書。不曾料到，
天崩地裂會讓自己與李香君離散，又怎曉得，
會
場
來一只泣血的桃
花扇，將他丟擲在回憶中動彈不得。 秦淮河邊，斷垣殘壁的媚香樓一盞一盞亮起了燈，被戰亂
平的昨
日，又跟著梨園笛聲喧囂起來，文人、烈士、權奸紛紛登場，還有一 名不速之客，口中吟唱著陌生的旋律。香君
壞花容，濺血滿扇，爾
後點染成為桃花的情景，於他就像是一場漫長而慚愧的對峙。
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透過鏡中人與侯方域的相遇，虛實疊映間，那一 射出多重的隱
扇底紅桃，竟折
。《亂紅》既是香君「臉上桃花做紅雨兒飛落」的濺
扇情節，亦是以「桃花亂落如紅雨」的漫天意象，點出侯方域心中的 迷亂與糾纏，
也是身處亂世之人終身的
徨！
Adapted from KONG Shangren's historical opera The Peach Blossom Fan. It is said that nothing special occurred on the day Chong-Zhen, the last emperor of the Ming Dynasty, hanged himself. In fact, it is so peaceful that nobody took notice to the looming turmoil. HOU Fang-yu has never expected that this violent rupture of history would have separated him and LI Xiang-jun, nor that she would send him a bloodstained fan. To him, the scene of Xiang-jun intentionally bumping her head and her blood splashing on the fan like peach blossoms was unbearable and shameful to recall. The imaginary and the real crisscrossed through the encounter of the man in the mirror and HOU Fang-yu, while the peach blossom on the fan brings up various metaphors. "Peach blossom" is not only symbolic of blood springing from Xiang-jun's face, but also a 亂紅
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metaphor of HOU Fang-yu's conflicting and complicated emotions. It's a challenge for all who live in an age of turmoil.
第一場 鏡中人 人物：李香君、侯方域、鏡中人、阮大
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【桃花女子上，身段舞蹈，迷離意象】
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桃花女子（香君）：是何人又在 色？
桃花初綻的時節，憶起那迷樓春
！夢醒只在花前坐，傷春還來花下眠。
【侯方域持扇上】 侯方域：點點紅霞驚殘夢，悠悠生死一念懸。 【展扇介】看
扇上開滿紅桃，斑斑血淚、寸寸愁腸，催動
多少柔情，
骨的相思，只有媚香樓的人兒能解了。香
君，香君∼ 【鏡中人披斗
現身，與四下尋人的侯方域，擦邊似的應對。】
鏡中人：【背吟】照花前後鏡，來人非妖精！ 侯方域：俺香君
裏去了？
鏡中人：福王登基，欲教演新戲，所致搜遍舊院，堅心守樓的香君 【侯：香君？】，也被捉入宮，學歌去了！ 侯方域：
！小生定情之日，桃花盛開，映著簇新新一座粧樓，不料 美人一去，零落至此──
鏡中人：且慢！畫院書軒，怎被看做了歌樓舞館？ 亂紅
裡，
會是媚香 潑墨書房
樓？你看仔細，
是你的書房。
【轉場，回當下時空：壯悔堂】 鏡中人：人生到此時，甘落魄到只有後悔之心
？
侯方域：俺壯心未已，何悔之有？ 鏡中人：當真？ 侯方域：不假。 鏡中人：如此，你就對鏡觀來！【斗
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退去，露出清裝】
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侯方域：啊 鏡中人：小生侯朝宗，看到自己何必如此驚嚇？俺是特來與他對照的 鏡中人。 侯方域：一派胡言！侯朝宗
似你
樣打扮，身後
著一條狗尾！
！ 鏡中人：
樓台會 避不相認言憤慨，恨我辮髮惡形骸。
侯方域：【若有所思】都是改朝換代之故。 亂紅
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鏡中人：偏偏他的心還留在過去。 說什麼江山易主換朝代， 佳人的形影何曾忘懷！ 侯方域：什麼佳人？【逃避地】我……記不清了！ 鏡中人：
呀呀！方才夢中，還口口聲聲要找香君 詩友、史可法、楊龍友
？哦，難道復社
人，你都忘記了？【見侯不吭聲】
他們形容你是滿腹詩文、風流多情，依我看，你真是鐵石打 的心腸呦。 侯方域：【喃喃自語】多情總被無情苦，相思無盡意難抒── 鏡中人：聽無
！我記得清清楚楚。那一年，你金陵赴考，初遇佳
人，喜得知音，就在三月艷陽天，六朝金粉地，媚香樓為你 與香君排下
席，笙歌賀喜，是詩友言道，「合歡有酒，豈
可定情無詩」？你便在舒扇內中題詩一首，贈送香君，作為 盟誓之物。
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【樂音響起，李香君持詩扇、喜服上】 李香君：【唸詩】夾道朱樓一徑斜，王孫初御富平車，青溪盡是辛夷 樹── 侯方域：【接唸】不及東風桃李花。 鏡中人：香君配得起此詩呀！ 【唱】 珠翠輝煌，羅綺飄蕩， 件件助新妝，懸出風流榜。 兒女濃情如花香， 亂紅
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美滿無他想，黑甜共一同。 侯方域：
風抖，樓臺花顫，香君不愧東風第一枝。
李香君：倚著雄姿英秀，閒花添豔，野草也生香。
鏡中人：妙哉呀！ 幕後：【唱】桃花舞春風，步步嬌 鏡中人：【唱】不忌輕狂！ 【鏡中人目送侯李相擁下，感嘆】
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重重錦帳香薰透，留予他年憶花朝。 【笑】他的心瞞不過我呀，自從改朝換代以後，他手中的水 筆，無有一時停止，寫、寫、寫，到底有什麼通好寫
？
侯方域：【OS吟】 曾抒壯志潑奇墨， 又表悔心寄雅堂。 鏡中人：手起筆落，追想往事，越寫越勿過心。呵呵，若不是心內悔 恨交加，豈會將自己的書軒改名「壯悔堂」 【阮大
？
出現在另一端，書寫著】
鏡中人：我記得以前有一個人，伊名叫阮大
【燈亮】，也是手不離
筆，寫寫寫，寫到嘴笑目笑，一介文人無疑！他和侯朝宗雖 然生在同朝代，亦讀同款的聖賢書，不過，一個是風文秀士 復社的才子，一個卻投靠了閹賊奸黨，因此變成對頭
家
主。 【笑】你們看，春光瀾漫，他還關門落閂一直寫未停哩。 阮大
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：只因俺所著傳奇四種，目下發刻；恐有錯誤，在此對閱。
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鏡中人：原來如此，不過，也該你出臺了！【下】 阮大
：不忙不忙，俺
《燕子箋》呀！
風入松 新詞細寫烏絲闌，都是金淘沙揀。 簪花美女心情慢，又
出煙慵雲懶。
燕子啣春未殘，怕的楊花白，人鬢斑。
第二 阮大
。燕子啣恨
人物：家丁、阮大
、李香君、侯方域、鏡中人
家丁：【持帖上】地僻疏冠蓋，門深隔燕鶯。稟老 阮大
，有帖借戲。
：何人借戲？
家丁：陳貞慧、冒辟疆等三位公子遊湖賞春，要看老
新編的《燕子
箋》，特來相借。 阮大
：
？上樓、上樓，發出那一副上好行頭，吩咐班裡人梳頭洗 臉，隨箱快走，
要仔細著。轉來！【悄聲】你到席上，聽
他看戲之時，講論什麼，速來報我。【家丁下】哈哈！哈
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版權 《表演臺灣彙編：劇本，設計，技術， 戲曲劇本館
》
《亂紅》
出版單位／國立中央大學黑盒子表演藝術中心 發行人／周景揚 地址／桃園縣中
市中大路300號
電話／(03)426-4805 傳真／(03)426-4805 信箱／theatre@ncu.edu.tw 作者／二分之一Q劇場 戲劇製作／二分之一Q劇場 總編輯／周慧玲 執行編輯／李易修 執行編輯／詹傑 助理編輯／蔡家綾 英文翻譯／劉微明 英文校對／許仁豪 法律顧問／李友琦 製作公司／潑墨數位出版行銷有限公司 亂紅
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發行日期／2013年12月初版 指導單位／
本數位出版品之製作出版，接受文化部「公有文化創意素材加
應
用」計畫補助。 定價220元 版權所有，翻印必究。 本書若有任何缺誤，請與我們聯繫。 e-ISBN/978-986-040-279-7(ePub)
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Published by The Performance Center at National Central University Publisher in Chief/Dr. Jing-yang Jou Address/No. 300, Jhongda Rd., Jhongli City, Taoyuan County 32001, Taiwan (R.O.C.) Phone/+886-3-426-4805 Fax/+886-3-426-4805 Email/theatre@ncu.edu.tw Author/1/2 Q Theatre Producer/1/2 Q Theatre Editor in Chief/Katherine Hui-ling Chou Executive Editor/Yi-hsiu Lee Executive Editor/Jae Zan Assistant Editor/Chia-ling Tsai 亂紅
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Translator/Wei-ming Liu Proofreader/Jen-hao Walter Hsu Legal Consultant/Yo-chi Li Digital Production/Puomo Digital Publishing＆Marketing, LLC. Publication Date/June 2014, first edition The production and publication of this digital publication is sponsored by the Ministry of Culture’s Public Creative and Cultural Material Value-added Application project. Suggested Retail Price/NT$220 © Copyright Performance Center at National Central University, 2013. All rights reserved. Please contact us for any mistakes or missing content in the book. e-ISBN/978-986-040-279-7(ePub)
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