目錄／
封面／Book Cover 目錄／Content 總編輯的話／From the Editor in Chief 導言／Introduction 《帝女．萬歲．劫》創作者自序 《帝女．萬歲．劫》劇本 附錄1 影音精選／Video Clips 附錄2 劇作家施如芳簡介 附錄3 製作人邱 簡介 附錄4 首演資 台灣現代戲劇 表演影音資料庫簡介／About ETI, Electronic Theater Intermix in Taiwan 12. 版權／Copyright 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.
帝女・萬歲・劫
潑墨書房
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 帝女・萬歲・劫
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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。 2013年，我們首先出版了《林摶秋劇作選：醫德、高砂館》、《少年 金釵男孟母》、《踏青去》、《逆旅》四部戲劇劇本，以及《亂紅》
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與《三顆頭》兩部戲曲劇本。其中林摶秋先生劇作是現存最早的臺灣 劇作之一，我們非常榮幸能取得日文原著與中文翻譯的授權出版。 《亂紅》來自臺灣特有的實驗戲曲作品，首演極受好評，《逆旅》爲 2011年臺灣文學獎金典獎得獎作品，他們具體而微說明臺灣青年創作 的實力。《逆旅》和《三顆頭》是我們參與製作的兩部劇作；前者由 我們媒合導演與專業製作團隊，後者是我們一路陪伴著從創團到製作 演出，同為我們珍惜的青年劇作。《少年金釵男孟母》和《踏青去》 爲臺灣劇作家的性別演繹和想像，留下創意足跡，前者近年頗獲國內 外學界討論，後者則是臺灣演繹女性情誼的最早作品之一。各製作團 體慷慨授權，讓我們得以與讀者們分享 錄；因為他們，
套書特別
些劇作珍貴的演出影音紀
得典藏閱讀。
2014年上半年，我們又出版了劇本《大神魃》、《塵埃》、《無獨有 偶經典偶劇選：降靈會、最美的時刻》以及《江佶洋燈光創作作品 集》。三部劇作風格迥異，《大神魃》藉由動畫、舞臺和音樂
道
來神怪的孤寂，《塵埃》演繹科技深入人類的歷程，《無獨有偶經典 偶劇選：降靈會、最美的時刻》集合無獨有偶劇團精彩的現代偶劇， 他們呈現了臺灣劇場裡自由多元的風景。 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 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
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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。爲了完成
個繁重的任務，從2014年
起由我和李易修共同擔任「設計館」與「技術館」的主編，從主題選 擇、文字編輯、到圖像製作或影音採集，合力編
。
2014年我們首開先例地出版了《江佶洋燈光創作作品集》以及《劇場 黑衣人》。
是一個萬分艱難的工作，因為大部分的劇場設計和技術
工作者不曾留下工作紀錄，加上他們繁重密集的工作行程， 字
述
一項，便是一大挑戰。再者，他們的作品散於
團體，影音資料或圖像劇照的版權取得，
是文
多表演藝術
是極為繁雜困難的。謹此
向資深的劇場技術工作者斯建華先生，和青年燈光設計者江佶洋致 謝，他們的支持與配合除了讓我們的的野心得以落實，也讓我們勇於 繼續鼓舞更多優秀資深的同仁們，從翼幕側寫臺灣現當代劇場的風華 與艱辛。
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
帝女・萬歲・劫
搬上舞臺，必然已經取得一定的社會資源，
些資
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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 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、「國家表演藝術 中心之國家兩廳院」（原國立中正文化中心）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；感謝擔任2014
年執筆導言的劇作家陳世杰先生、郭亮廷先生、林世秉先生、胡疊教 授、資深的劇場工作者王孟超先生、傅裕惠老師、沈敏惠女士，從長 期共事的角度，或持續關注的劇評位置，為我們提供有關作者或作品 帝女・萬歲・劫
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的閱讀佐證。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、 吳政
先生、陳
怡君女士、林佳璇女士、陳佾均女士、白斐嵐女士、Frank
Episale先
生，以及2014年特別邀約的Albane Lahlou和我在中央大學的同事許凌 凌教授擔任法文翻譯。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，完成主要外文譯文，爲日後的國際發行奠定基礎。
《表演臺灣彙編》叢書總編輯，2014年08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 帝女・萬歲・劫
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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 帝女・萬歲・劫
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record quality performances that the reader would otherwise be unable to access. In 2013, we first published four drama scripts: Selected Plays of Tuanchiu Lin: Takasago Hotel and The Good Doctor; He Is My Wife, He Is My Mother; Skin Touching; Self Re-Quests. Following the above were two Xiqu scripts: Peach Blossom Rain and Three Heads. We were very honored to obtain publication rights for the original Japanese scripts as well as the translated Chinese scripts of Mr. Tuan-chiu Lin, which are the oldest existing Taiwanese drama scripts. Peach Blossom Rain, particularly Taiwanese in its style, is an experimental Xiqu production that was highly appreciated during its initial run. Self ReQuests received the 2011 Taiwan Literary Award for Best Play. Together, these two plays are a small but concrete testament to the strength of Taiwan’s young creative talents. The Performance Center at NCU was also involved in the production of two works by young talents. For Self Re-Quests, we acted as matchmaker, bringing the director and the production team together; for Three Heads, we accompanied playwright Pen-ning Hsing through the full process, from founding her theatre company to a full production of the play. He Is My Wife, He Is My Mother has received much academic attention at home and abroad and Skin Touching was one of the earliest works 帝女・萬歲・劫
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about lesbian relationships in Taiwan; both wield creative impact on the presentation and expression of gender for Taiwanese playwrights. With generous authorization from many performing arts groups, we were granted the opportunity to share precious segments of recorded performances; these groups made this collection especially worth reading. During the first half of 2014, we published The Drought Goddess, The Dust, Selected Plays from Puppet & Its Double Theatre: La Réminiscence d’un fantôme and Der Schönste Moment and The Light Passing the Time. The three dramatic texts are drastically different: The Drought Goddess expresses the loneliness of gods and spirits through the combination of animation, stage design and music; The Dust explores the progress of technological saturation in the human world; Selected Plays from Puppet & Its Double Theatre: La Réminiscence d’un fantôme and Der Schönste Moment is a collection of splendid modern puppet plays performed by Puppet & Its Double. Together, all these works represent the aesthetic freedom and diversity of Taiwanese theatre. 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
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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. Starting from 2014, Mr. Yi-hsiu Lee and myself share the position of Chief Editor for the Design Series and Stagecraft Series, working together from theme selection and text editing to graphic creation and audiovisual acquisition in order to accomplish this arduous task. We are creating a precedent in 2014 by publishing The Light Passing the Time and Theatre Crew. The fact that most professional theatre designers and technical specialists do not keep written records, coupled with their heavy workload and concentrated schedules, makes composing textual descriptions of their work a great challenge. Moreover, the audiovisual records of their projects often become properties of the various performing arts groups they collaborate 帝女・萬歲・劫
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with, making reproduction rights extremely difficult to acquire. We hereby express our thanks to veteran theatre technical specialist Mr. Chien-hua Szu and up-and-coming lighting designer Mr. Chi-yang Chiang. Their boundless support fulfilled our ambition, but more importantly, it encouraged more outstanding and experienced theatre workers to record, from the wings, the splendidness and hardships of Taiwan’s contemporary theatre.
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 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 帝女・萬歲・劫
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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.
As we move forward in the editorial process, we must thank all of the artists, the production companies, the National Performing Arts Center National Theater & Concert Hall (originally named National Chiang Kai-shek Cultural Center) and the Public Television Service Foundation for their support and endorsement. We would also like to thank Dr. Ay-ling Wang, Dr. Ho-yi Lin, Dr. Wan-shun Shih, Ms. Jufang Shih, Ms. Wei-ming Liu and Ms. Betsy Lan for penning introductions to the first six works of the collection, offering
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informative and inspiring entry points for the reader. We thank playwright Mr. Shi-jie Chen, Mr. Liang-ting Guo, Mr. Shi-bing Lin, Dr. Die Hu, veteran theatre maker Mr. Meng-chao Wang, Prof. Yuhui Fu and Ms. Min-hui Shen for penning the introductions for this year’s offerings. We thank them for providing us with textual accompaniments about the authors or their works, from the perspectives of long-time collaborators and continued critical engagement. We also thank Mr. Simon Chen, attorney-at-law, Mr. Chi-wei Tang, attorney-at-law and Ms. Yo-chi Li for valuable legal advice and for planning the Performing Arts Intellectual Property Rights Workshop with us; in order to upgrade the Taiwan performing arts industry, finding the medium between sharing creativity and defining intellectual property rights must be everyone’s next order of business. Many thanks again to Dr. Wanshun 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 devoted English translators, Dr. Jen-Hao Walter Hsu, Ms. Wei-ming Liu, Dr. Chiayi Seetoo, Mr. Cheng-han Wu, Ms. Betty Yi-chun Chen, Ms. Siraya Pai, Ms. Chia-hsuan Lin, Ms. Yi-chun Chen and Mr. Frank Episale. We also thank our guest translator Ms. Albane Lahlou and my colleague 帝女・萬歲・劫
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at National Central University, Dr. Ling-ling Hsu, for the French translations. Without the hard work of everyone mentioned, it would have been nearly impossible for us to produce the foreign language translations that would serve as the basis for future international distribution within such a limited timeframe.
Katherine Hui-ling Chou Editor in chief of Performing Taiwan, August 2014
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導言
文／胡疊（中國戲曲學院戲文系／副教授）
1957年，唐滌生「借筆」前輩黃燮清，以驚才 重生，經任白演繹更成
豔之筆令《帝女花》
劇戲寶；四十九年後，施如芳再「借筆」唐
滌生，另起波瀾而成《帝女．萬歲．劫》。兩次「借筆」，創作者各 有個性，各有懷抱，寫成意旨風格全不相同的作品，似乎是最正常不 過的事，不過，兩部作品最本質的區別，卻並不在此。 從時間來看，
兩部劇本應屬同時代作品。但從戲劇的精神內核而
論，唐本反而距數百年前的《桃花扇》更近，劇中人物安身立命之 處、構成人物行動的心理動機乃至於對人物褒貶評價的基礎等，均是 儒家的倫理道德觀。《帝女花》中，長平與中國傳統的「烈女」一脈 相承：在
性格的「剛烈」之中蘊含著「貞烈」，如
兩次三番欲
「存貞操、殉父母」，
恪守「君要臣死只憑一諭，父要子亡只憑一
語」，臨近死亡猶自誠
拜謝君父之恩。「史上最深情的
馬」周世
顯固然是一個癡情人，但在他的行為選擇中，清晰地刻著「忠孝」二 字，
一烙印深至他的本性中，以至於君王要賜死長平時，他
無質
疑，只餘不捨與哀求——在儒家的綱常倫理中，崇禎殺女的舉動顯得 理直氣壯。他所建議的「夫妻雙雙死於含樟樹下」之選擇，與其說是
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「殉情」，毋寧說是「殉國」（畢竟愛情並未走到
路），更深刻地
凸顯了「忠孝」的大義在前、愛情和個體生命置後的價
選擇。崇禎
的形象則沿襲了傳統戲劇中對皇帝的原宥，致力刻畫他愛女的拳拳之 心和「謝民愛敢犧牲性命」的悲壯，在劇作風格上，《帝女花》呈現 出傳統戲劇典型的「中和之美」，「香夭」一折中動人心魄、攪人肝 腸的悲慟，在金童玉女重返天庭的一刻得到了最好的撫慰，悲劇的餘 韻消散在美妙的天外綸音之中。 劇，劇作家總不肯令觀
便是中國傳統的「調和了」的悲
從劇場中失意而去。
施如芳所挑戰和挑動的，正是唐滌生劇中人物依託之所在。對「歷史 的可能性」斟酌得越多，對「人之為人」琢磨得越多，
便越不肯給
予筆下人物一絲可疑的溫情。《帝女．萬歲．劫》中，俊美的
馬只
是飄渺的影子，愛情是虛幻的夢境。周世顯的退場，並非是劇作家有 意規避《帝女花》最瑰麗動人的一筆（施如芳亦是寫情聖手），或許 是出於冷靜——國破家亡時，愛情
能有如許力量能
轉乾坤？或許
更出於期待——帝女無可依仗，不得不獨自面對兩個君王，兩次抉 擇，勢必會
撞出人物更深的心理衝突。因此，國破之時，偏執的崇
禎有了一刻的悔恨，一刻的清明，一刻的
犢之情。而長平面對殺氣
騰騰的君父，戰兢兢難以抑制恐懼，《帝女花》中昭仁被殺之時的怨 咎之詞，在此處更被施如芳移作了長平之恨：如花一般的年紀，愛情 才剛剛萌芽，誰能甘願就此死去？結局固然無法逆轉，但多出來的 一點點情緒，卻讓人物變得複雜起來，從而混沌了觀 帝女・萬歲・劫
的感受，模糊 潑墨書房
了原作中清晰的正與反、愛與憎的界限——
樣的人物，少了些仙
氣，多了些人間煙火氣，但卻更真實，更能貼近你我凡人的心底。 就在
些「借筆」之處，施如芳不動聲色地將原作中的古典精神，換
做了現代意識；將一個中國式的悲劇，寫成了徹底的現代命運悲劇： 帝女長平從頭到尾，被裹挾在歷史的潮流中載浮載 力自救，一步步
，苦苦
扎卻無
下去，從孤單走向更孤單，直至最後湮滅於各種傳
說之中。 在此將兩個劇本做簡單對比，並非有意以「歷史局限性」苛刻前人舊 作，毋庸置疑，《帝女花》將被繼續傳誦，但「一代有一代之戲 劇」，今人寫戲，不能、更不應該沿襲古典戲劇的精神傳統——時代 自顧自往前走的時候，總有些傳統被質疑乃至被
棄，但它們未必隨
舊時代的離去而自動消弭，有時被潛移默化成為無意識，盤旋不去， 以至於當代戲曲中真正的現代之作並不多見。 劫》的價
之所在——它不
便是《帝女．萬歲．
是施如芳對前輩的致敬，更是
以現代
之姿對話傳統經典的反思。
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In 1957, playwright Ti-sheng Tang injected new life into Di Nu Hua, a play about the historical Princess Chang Ping, with tremendous talent and flair, by “borrowing” and referencing a play of the same name written by Xie-qing Huang, from a previous generation. Through the extremely popular performances of actors Bai Xuexian and Ren Jianhui, Tang’s play was subsequently elevated to the position of “the Jewel of Cantonese Opera”. 49 years after that, Ju-fang Shih again “borrowed” from Tang’s text, and re-imagined the same historical tale into The Sufferings of Princess Chang Ping. That the two “borrowings” showcase the different personalities and aims of their creators, and are different in theme, style and sentiment may seem nothing out of the ordinary, but interestingly, it is not the most fundamental difference between the two works. Chronologically speaking, Tang’s Di Nu Hua and Shih’s The Sufferings 帝女・萬歲・劫
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of Princess Chang Ping were written in the same era; however, in terms of the spiritual and thematic core of the plays, Tang’s version is much closer to Peach Blossom Fan, the classic opera script of the same story, written several hundred years before. In Tang’s version, everything from the characterization and resolution of the characters, the psychological motivations behind their actions, to the fundamental values on which the characters are judged, is based on Confucian ethics. In Tang’s Di Nu Hua, Princess Chang Ping fits right into a long line of traditional Chinese women of virtue; the staunch moral integrity of her personality has a heavy tint of what the Chinese traditionally see as “feminine strength”. For example, she repeatedly offers to “follow her parents in death and uphold her virtue;” she is a believer of the saying “For a subject to give his life, the Emperor needs only ask; for an offspring to give hers, the father needs only ask.” Even in her moment of death, she thanks her father with absolute sincerity for all he has given her. Similarly, while Chou Shihen, called the most dedicated prince consort in history, is obviously a romantic character, we can see from the character’s actions and choices that at his core, he is loyalty and filial piety incarnate. These Confucian values are so ingrained in his being that when the Emperor orders Chang Ping’s death, Chou does not question it, only laments and begs for mercy. When Chou suggests that the lovers “die 帝女・萬歲・劫
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together under the camphor tree,” he is asking for the two to commit suicide for the country, not for love. After all, what pushes them into such drastic measures is not the trajectory of their love. This plot point is an especially strong example of the value system which places greater virtues such as loyalty and filial piety before love and life. Tang’s version of Emperor Chung-chen adheres to the traditional dramatic portrayal of rulers, with emphasis on his love for his daughter and the tragic arc of suicide as a way to express gratitude for his subjects’ support. In terms of style, Di Nu Hua is a prime example of the typical “beauty of moderation” sought after in classic Chinese dramatic literature. For example, the devastating, heartwrenching pain of Chang Ping’s death scene receives the ultimate consolation during the scene in which Chang Ping and Chou, revealed as gods, return to heaven. The lingering wisps of tragedy ultimately dissipate in the sublime heavenly music. Such was the balanced, moderated tragedy of the Chinese stage, where the playwright could not bear to leave the audience feeling destitute after the show. Shih specifically challenged the very moral center on which Tang
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anchored his characters. The more Shih considered the various possibilities of history and the more she examined the question of what makes us human, the more reluctant she was to offer her own characters any more dubious sympathy. In The Suffering of Princess Chang Ping, the handsome prince consort is but an ephemeral illusion, and love only a dream to wake from. The decision to keep Shih-hsien Chou out of the action is not because the playwright wants to avoid the most moving and romantic part of the historical Changping’s story (since Shih has proven her proficiency at romantic scenes.) Perhaps, then, the arrangement is because of pragmatism: how can mere romantic love prevail in the face of such devastation as the loss of a country? Or perhaps Shih does so to see what will happen: without the support of the prince, the princess must face two emperors and two decisions on her own, thereby taking the audience deeper into the character’s inner conflict. And so, at the moment when
the
empire
falls,
the
obstinate
Emperor
Chung-chen
experiences a fleeting moment of regret, clarity and fatherly love. Chang Ping, on the other hand, sees a wrathful monarch bent on killing, and cannot help but to shake in fear. Here, Princess Chao Ren’s last words of blame in Di Nu Hua are given to Chang Ping to express her regrets: what woman, just reaching the bloom of youth with a promising budding romance, would be content to die? While 帝女・萬歲・劫
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the outcome of this event is unchangeably locked into history, this extra flare of emotions serves well to complicate the characters; furthermore, it muddies the audience’s impression of the story, and blurs the right-or-wrong, love-or-hate divide in the previous versions. Such characterization brings the characters down from saintliness into the mortal realms, and adds more realism to endear them to the average modern audience. As Shih “borrowed” from Tang’s text in the abovementioned instances, she effortlessly swapped the classical spirit of the previous version for modern ideas: she retold a traditional Chinese tragedy as an absolutely modern tragedy of fate. From beginning to end, Princess Chang Ping is caught adrift in the currents of history, struggling in vain and moving step by lonesome step towards isolation, until she finally disappears amidst stories and legends. While I compared the two plays above, I did not mean to criticize the earlier one for its historical limitations—doubtlessly Di Nu Hua will always be well-loved. However, each generation has its own theatre, and the modern playwright cannot (must not) hang onto the tradition of classical theatre beyond its due. As history marches onward, some traditions will be questioned and even denounced; however, they
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may not always be automatically retired from circulation along with the departure of times past. Some of these traditions may flow downwards into our subconscious, and linger for ages to come. This may be one of the reasons why we don’t see truly modern works in contemporary xiqu very often. Such is the true value of The Sufferings of Princess Chang Ping—not only is it Ju-fang Shih’s tribute to the master of a previous generation, it is also her response to tradition and cannon as a modern playwright.
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《帝女．萬歲．劫》劇本
編劇／施如芳
劇情簡介 崇禎十七年三月十九日，天將亮未亮，長平公主正夢見與準 花園中偶遇，一顆待嫁女兒心，滿是甜蜜， 的兵馬已然近
，
馬在御
怎麼也想不到，李自成
的父王崇禎帝深陷夢魘，一夜難以成眠。
當早朝的鐘鼓再也喚不來文官武將時，崇禎幡然醒悟：自己將成亡國 之君，帝王之家的末日已至；他隨即頒下聖旨，要后妃、公主殉節， 並在登煤山自縊前，他親手揮劍 長平沒死於那一劍，但
殺了長平公主。
的天真爛漫，埋葬在父王殺女的斑斑血淚
中。對末代公主而言，重回改朝換代後的故宮，無疑比死更艱難。但 為了救出
的皇弟明太子，長平終於入了大清皇帝之
。
角色介紹 長平公主 明帝崇禎
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清帝 太監王承恩 老臣周奎 民間女子 公主旦角戲偶 馬生角戲偶 宮女、武將文官若干
序場 【舞臺三個區位的燈光先後亮起】 【臺前燈亮，只見樸素打扮的少女在轉動紡紗機】 民女：【唱】暝日紡紗為怎樣？
馬趕欲看新娘。
【舞臺中央燈亮，可見富貴意象的紅色垂 長平：【嬌柔的夢囈】 帝女・萬歲・劫
，長平公主在
後睡著】
馬呀！ 潑墨書房
【唱】皇家聯姻緣成就，榮華無雙配鸞儔。 【臺側邊燈亮，偶戲演師所操弄的生旦戲偶，隨著唐突的唱曲，動了 起來】 演師：【唱】月光光， 個撞墓壙，
馬郎，騎白馬，過洞房，白馬亂亂衝，跋一 馬郎！
【燈暗，長平公主、少女、演師下】
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第一場 【字幕出：明朝末】 【日出前，在一片奇異的靜謐中，有個人影步向鐘鼓樓，作敲擊狀， 晨鐘聲雍容地響起；群臣幕外音歌頌後，鐘聲轉為狂亂激烈】
OS：吾皇萬歲萬萬歲！吾皇萬歲萬萬歲！ 【唱】莫說皇帝遠，早朝鐘聲傳，勤政朝天闕，君臣相得歡。
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【太監王承恩手捧龍袍尋上，感嘆唱】 王承恩：【唱】鐘聲猶如催頷聲聲喚，不見文武百官步金鑾。早朝無 人到，連皇上也不知走去佗（
兒）？皇上啊，皇上。
【王承恩猛然發現敲鐘人正是崇禎皇帝，惶恐上前】 王承恩：
呀，敲鐘的人竟然是，【應聲跪地】皇上！
崇禎：你叫誰皇上？ 王承恩：就是
呀，皇上！
崇禎：皇上？我是皇上！ 王承恩：是
，大明天子怎會在敲鐘？
不是要叫天落紅雨馬發角
？ 崇禎：哈哈哈……
！
【唱】九五之尊親身來敲鐘，喚不來炎炎日頭升，喚不來忠良 在君側，孤木難扶我朱氏大明。 王承恩：皇上，讓王承恩為
帝女・萬歲・劫
更衣吧。
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【王承恩為崇禎換
龍袍，崇禎陷於昏昏
的幻境，自言自語，王
承恩則接話尾奉承，叨叨絮絮】 崇禎：王承恩。 王承恩：奴才在。 崇禎：你可知，昨夜朕根本不曾闔眼。 王承恩：奴才再鈍，也看得出來。【暗道，對觀
】皇上睡不著，打
算是煩惱過頭了！北京九個門，戒備是多嚴哩，清兵凶得像 虎狼
羆，也看有吃無，若不是【偏著頭想】那個那個，對
，曹公公，若不是曹公公打開彰義門，李自成的賊兵賊馬 插翅也飛不進來。當（現在）
，闖賊才上踏板而已，就要
上眠床了，竟然數想（奢望）攻入紫禁城，難道京城沒大人 了是嘸？
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崇禎：奇哉！怪哉！ 王承恩：皇上，是什麼代誌奇怪
？
崇禎：我分明一夜難眠，卻夢見兩位大臣來保駕。 王承恩：大臣保駕？皇上，
還記得是
兩位大臣
？
崇禎：一個，是袁崇煥。 王承恩：【大驚】
是說，袁尚書！
崇禎：【唱】袁崇煥伊是南蠻的出身，一介文人竟也用兵如神，尚方
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寶劍為伊立威信，望伊一夫當關報答皇恩。 王承恩：【誇張身段，作讚嘆之情】袁尚書配會得過
。
崇禎：胡說，知人知面不知心呀！一直到那一次，清兵飛度關山、兵 臨城下，楊公公被擒—— 王承恩：【無奈地】也是天作成，楊公公予掠去敵營—— 崇禎：幸得楊公公
聽到機密，朕才知道，原來袁崇煥他，通敵
國！【冷笑地】既然知情，朕當然要先下手為強！ 王承恩：【點頭】
，皇上傳袁尚書單人獨馬來見，才將他交給錦衣
衛去治罪！ 【對崇禎】可是皇上，
帝女・萬歲・劫
不是夢到他來保駕？
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崇禎：
！
【唱】虛情假意自稱保駕，早有異心無錯無差，談笑風生為伊 披戰甲，暗中舞劍我要斬毒蛇。 王承恩：結果
？
崇禎：一個閃身，他就不見人影了。 【崇禎餘忿難消地喚著袁崇煥，四下尋找】 崇禎：
，袁崇煥，你
帝女・萬歲・劫
個
將，你出來呀。
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王承恩：【暗自感慨】夢中閃得過，在劫卻難逃。真正像布袋戲在作 的，紅面的快落籠（扮忠臣的戲偶較快下場，意謂忠臣易夭 折）
，袁尚書明明為了報答皇恩——【唱】拼到兵無糧、
馬無草，戰甲予清兵射到全
頭，換來凌遲抄家、死無人
哭，賢君良臣的佳話放水流。 【崇禎突然露出快慰的神情，彷彿看到了想見的人】 崇禎：愛
平身呀。
王承恩：【困惑地】皇上， 崇禎：是洪承疇洪愛
在叫誰
？
啊。
王承恩：【又一驚】是洪總督！
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版權 《表演臺灣彙編：劇本，設計，技術， 戲曲劇本館
∼》
《帝女・萬歲・劫》
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／施如芳 戲劇製作／邱 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／蘇玨于 法律顧問／李友琦 製作公司／潑墨數位出版行銷有限公司 帝女・萬歲・劫
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發行日期／2014年9月 初版 指導單位／
本數位出版品之製作出版，接受文化部「推動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/9789860435436(ePub)
帝女・萬歲・劫
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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/Ju-fang Shih Producer/Ting Chiu Editor in Chief/Katherine Hui-ling Chou Executive Editor/Yi-hsiu Lee Executive Editor/Jae Zan Assistant Editor/Chia-ling Tsai 帝女・萬歲・劫
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Translator/Wei-ming Liu Proofreader/Chueh-yu Su Legal Consultant/Yo-chi Li Digital Production/Puomo Digital Publishing & Marketing, LLC. Publication Date/September 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, 2014. All rights reserved. Please contact us for any mistakes or missing content in the book. e-ISBN/9789860435436(ePub)
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