司徒秀英。〈論新編佛教崑劇《未生怨》的阿闍世題材和寺院演出意義〉。《民俗曲藝》209 (2020.9): 169-209。
SI TOU Sau Ieng. “On the Buddhist Kunqu
Opera Innate Resentment: Its Subject
of Ajase and the Significance of Temple Performances.” Journal of Chinese Ritual, Theatre and
Folklore 209 (2020.9): 169-209.
Abstract
本文從題材和寺院實地搭臺兩方面討論新編佛教崑劇《未生怨》在當代編寫和上演佛典阿闍世故事的意義。《未生怨》的文學文本由香港志蓮淨苑訂稿，再交浙江崑劇團改編成崑曲劇本，於2012年在香港志蓮淨苑實地搭臺上演。此戲取材自《佛說未生怨經》、《觀無量壽佛經》和《大般涅槃經》三部佛經，演阿闍世前生與父親結怨、今生殺父囚母，及後懺悔、皈依佛陀的故事。劇本題材內容與淨土信仰和修持方法關係密切。本文將從《未生怨》的題材內容和實際劇場演出討論其宗教和戲曲意義。
The
purpose of this study is to discuss the significance
of the newly commissioned and staged Buddhist Kunqu Opera Innate
Resentment. Mainly about the life of Ajase in Buddhist scriptures, the text
of this play is compiled and edited by Hong Kong Chi Lin Nunnery. Subsequently,
the Zhejiang Kunqu Opera Troupe
adapted it into a Kunqu script. The
production premiered at Hong Kong Chi Lin Nunnery in 2012. This play is based
on three Buddhist sutras: Ajatasatru
sutra 未生怨經, Mahayana Mahaparinirvana sutra 大般涅槃經, and Amitayurdhyana sutra 觀無量壽佛經. It tells about the story of
Ajase, who held enmity with his father in previous incarnation, killed his
father, and imprisoned his mother in this life. But he finally repented and
became one of Buddha disciples. The theme and content is closely related with
the practice and notion of salvation of the Pure Land Buddhist belief. In this
study, I will explore the religious and theatrical connotation of Innate Resentment in the context of its
theme and actual stage performance.