林和君。〈崑劇與日本傳統戲曲的當代跨劇種展演：以1998年至2018年的日本演出為例〉。《民俗曲藝》209 (2020.9): 131-68。
Lin Ho-chun. “Contemporary Cross-Genre Performance of Kun Opera and Traditional Japanese Opera
in 1998–2018.” Journal of Chinese Ritual, Theatre and
Folklore 209 (2020.9): 131-68.
Abstract
崑劇與日本傳統戲曲在近代的交流之始，可上溯至1919年梅蘭芳的首度赴日演出；1972年中日建交後的政治因素轉變，中國大陸的崑劇團陸續受邀前往日本公演，期間也促成「日本崑劇之友社」的成立，更在全球化影響下突破國界與民族的藩籬，締造了當代跨文化交流乃至於跨劇種合作的契機，成為傳統戲曲在當代展演的獨特面貌。而1998年江蘇省崑劇院張繼青與日本能樂和泉流野村萬作在日本東京國立能樂堂同臺演出〈秋江〉以來，則開啟崑劇和日本傳統戲曲跨劇種合作演出的先例，此後，中國和臺灣兩地的崑劇演員與狂言、歌舞伎、能樂演員亦嘗試進行各種形式、深淺不一的合作，既是跨國族、跨劇種、跨文化的藝術形式交流，也是傳統戲曲從「古典與古典」的合作中探索當代戲曲展演、詮釋與再造的創作策略和方向。本文將以1998年至2018年間的崑劇與日本傳統戲曲同臺演出的展演為例，析論其演出形式與手法，並歸納其得失和成果，進一步說明此跨劇種合作在當代戲曲展演的意義。
The
beginning of communication between Kun
Opera and traditional Japanese Opera in modern times can be traced to Mei
Lanfang’s debut performance in Japan
in 1919. Due to the changes of political circumstances after China and Japan
established official diplomatic
relations in 1972, the Kun Opera
troupes in China received
invitations to perform in Japan,
leading to the founding of Konh-Ge-Ki
Club (Japanese Kun Opera Friendship
Society). It broke the boundary between national borders and ethnic groups,
creating opportunities for cross-cultural and/or cross-theatrical genre
collaboration, constructing a new aspect for the traditional operas to perform
in modern times. In 1988, the Jiangsu Kun Opera Troupe and Izumi school of Kyōgen staged a
production of Autumn River
in the Japanese National Noh Theatre,
with Zhang Jiqing and Nomura Mansaku as the leading performers. This precedent
of cross-genre joint performance ushered in a series of trial collaborations
between Kun Opera performers both in China
and Taiwan and performers of
Noh, Kyōgen and Kabuki in Japan.
Henceforth, actors from both sides seek cooperation of various forms and
degrees. It is not only a cross-national, cross-genre, and cross-cultural
exchange of art forms, but also a creative strategy of the traditional operas
to grow out of “classical vs. classical” mode and explore directions of
contemporary opera performance, interpretation and recreation. Based on the
joint production of Kun Opera and
traditional Japanese Opera staged between 1998 and 2018, I will analyze their
modes and techniques of performance, summarize results of pros and cons, and
explain the significance of such
collaborative performances.