林芷瑩。〈論白蛇戲曲年畫未見於今傳明清傳奇的「劇情」〉。《民俗曲藝》207 (2020.3):
61-110。
Lin Chih-ying. “On the 'Unknown Plot' of
the White Snake Legend in the
Woodblock Prints of Theater Scenes.” Journal of
Chinese Ritual, Theatre and Folklore 207 (2020.3): 61-110.
Abstract
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。
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.