汪詩珮。〈潛跡與明蹤：清中葉《雷峰塔》傳奇演變新論〉。《民俗曲藝》199 (2018.3): 263-327。
Wang
Shih-pe. “The
Underlain Footprints and Revealed Route: A Re-examination on the Development of Thunder Peak Pagoda in Mid-Qing.” Journal of Chinese Ritual, Theatre and Folklore 199 (2018.3): 263-327.
本文目的，希望從近年新出版的大量文獻資料，以及筆者新發現的伶人鈔本中，挖掘更多埋藏於既有文本之下的《雷峰塔》梨園本脈絡，並對學界看待方成培本的見解提出修正，提出清中葉白蛇戲曲發展演變的新觀點。首先，本文在文獻資料上的突破包括：重新辨正學界對「陳嘉言父女改編本」的討論，發現北京「王府新班」演出《雷峰塔》的記載，發掘多部珍貴的伶人鈔本（包括全本戲與折子戲），從而修正、確立《雷峰塔》在乾隆時期的流傳時間點。其次，文中具體分析六齣《雷峰塔》折子戲，發現「文人本」與「梨園本」彼此雖有交互影響，但梨園本實已建立一套傳承系統，方本並未在改編路徑上起到關鍵作用。最後，《雷峰塔》傳奇梨園本的「定型」，乃在方本之後，筆者推測是1780年這個時間關鍵點，因應高宗南巡，淮商鹽班以「名流數十輩」之力集體編修的「御前演出」本。因此，自1738年黃圖珌本出，至1780年名流本編成，白蛇戲曲的發展可分為三階段：1738–1768三十年間，是《雷峰塔》情節與人物的轉化期；1770–1780十年間，是《雷峰塔》從成熟至定型的關鍵期；1780年則標誌梨園界的定型本成立，從此流行於內廷與劇場，直至崑劇逐漸退出舞臺表演。在《雷峰塔》前後四十二年的演變過程中，除了文人、伶人、淮商、觀眾等影響因素之外，最終「定型」的推手，是作為特定觀眾的最高統治者及清廷。
This
paper aims to reconstruct the context of the theatrical transformation of Thunder Peak Pagoda in the light of the
documents from the recently published collections and newly found actor’s
manuscripts. It will modify the scholarly opinions about the famous literati
Fang Chengpei’s edition, and try to propose a new way of looking at the
development of the white snake drama in mid-Qing. Firstly, this paper has some
things new to offer: a re-examination of the adaptation by Chen Jiayan (an
actor) and his daughter, the finding of a note on the performance by the new
troupe from the royal court in Beijing, and the discovery of some rare
manuscripts of the full play or excerpts. New materials help us to rectify the
concrete time-line of the transformation and transmission of Thunder Peak Pagoda. Secondly, this
paper gives a detailed analysis of six excerpts of Thunder Peak Pagoda, which explains the interaction between the
literati’s edition and actors’ revisions. The actors’ transmissions have their
own inherited system, which means Fang’s revision did not necessarily play a
crucial role. Lastly, the “formulation” of Thunder
Peak Pagoda was likely to take place in 1780, when Qianlong Emperor went
southward to Yangzhou
Also
in Journal of Chinese Ritual, Theatre and
Folklore:
汪詩珮。〈文本詮釋與文化翻譯：元雜劇《老生兒》及其域外傳播〉。《民俗曲藝》189 (2015.9): 9-62。
Wang
Shih-pe. “Textual Interpretation and
Cultural Translation: Yuan Drama Lao
Sheng Er and Its Transmission to England
汪詩珮。〈文心百變與經典轉化：從《荊釵記》到《比目魚》〉。《民俗曲藝》167 (2010.3): 221-70。
Wang Shih-pe. “The Transformation
of the Classics and the Invention of Playwriting: From Jingchaiji to Bimuyu.” Journal of Chinese Ritual, Theatre and
Folklore 167 (2010.3): 221-70.
汪詩珮。〈文人傳統與女性意識的對話：《青塚前的對話》中的兩種聲音〉。《民俗曲藝》159 (2008.3): 205-47。
Wang Shih-pe. “Between the Literati
Tradition and the Women's Consciousness: Two Voices from The Dialogue in front of the Green Grave.” Journal of Chinese Ritual, Theatre and Folklore 159 (2008.3):
205-47.
汪詩珮。〈再論《張協狀元》――兼及戲文的發展與主題〉。《民俗曲藝》140 (2003.6): 47-81。
Wang
Shih-pe. “Re-examination of Chαng Hsieh chuαng-yüαn with Some
Problems about Hsi-wen.” Journal
of Chinese Ritual, Theatre and Folklore 140 (2003.6): 47-81.