林智莉。〈明清妙善觀音戲的市場需求與敘事變異〉。《民俗曲藝》224 (2024.6): 1-47。
Lin Zhi-li. “Market Demand and Narrative Variations of Miaoshan Guanyin Dramas during the Ming and Qing Dynasties.” Journal of Chinese Ritual, Theatre and Folklore 224 (2024.6): 1-47.
Abstract
觀音為中國流傳最廣、影響最深遠的佛教神祇之一。在通俗戲曲中，除了以救苦救難的形象出現，演繹妙善公主成道的觀音戲在明清出現了多個文本。有萬曆年間富春堂刊行《香山記》，明末清初張大復《海潮音》，湖南高腔地方戲《南遊記》、《香山傳》，京劇《大香山》、《苗善出家》、《香山還願》及亂彈《大香山總講》等。數個文本反映明清時期城市、鄉村、文人、宮廷等不同階層對妙善觀音戲的市場需求。本文透過文本敘事比較分析及演出史料參酌考證，從「神聖與娛樂」、「修行與孝道」及「儀式功能」三方面分析妙善觀音戲的市場需求與敘事變異，並歸納其成功橫跨各階層的原因：其一、在重要神聖情節增添娛樂效果，透過舞臺演出強化神聖感受，成功結合神聖性與娛樂性；其二、符應明清社會女性思潮與儒家倫理道德觀，轉繹妙善傳說自身關於「女性」與「孝道」的主題，吸引女性市場與人倫教化需求；其三、將原來勸化修行的宗教精神，導向薦亡與賜福，發揮儀式戲劇的功能。妙善傳說發展出的多重面向，不僅提供一條觀察宗教戲劇通俗化的演變發展徑路，並揭示中國戲曲多功能存在的市場價值。
In
China, the cult of Guanyin (also known as Avalokiteśvara Bodhisattva), is one
of the most widespread and influential Buddhist beliefs. In popular dramas,
Guanyin is portrayed as a savior who delivers people from suffering and
disasters. During the Ming and Qing dynasties, multiple Guanyin dramatic texts
on the cultivation and enlightenment of Princess Miaoshan were created. These
dramas, including the Xiangshanji, Haichaoyin, Nanyouji,
and Daxiangshan, reflected market demand for Miaoshan Guanyin dramas in
urban and rural areas that appealed to people of different social classes,
including literati and court nobility. This article explores market demand and
narrative variations of Miaoshan Guanyin dramas by comparing and analyzing
textual narratives and investigating historical information about performances.
The data presented focus on three dimensions, namely sacredness and
entertainment, cultivation and filial piety, and the functions of ritual
dramas. The findings presented below show that the success of Miaoshan Guanyin
dramas in crossing social boundaries can be attributed to several factors: 1)
Such dramas combined sacred and entertaining qualities by adding aesthetic
effects to essential sacred scenes and strengthening the perception of
sacredness through stage performances. 2) The embrace of feminist thought and
Confucian ethics plus the incorporation of themes about women and filial piety
from the Miaoshan legend attracted female audiences and met the demand for
ethical education. 3) The spirit of guiding people towards cultivation in
Buddhist texts was shifted to delivering the deceased and giving blessings,
achieving one key function of ritual dramas. In short, Miaoshan Guanyin dramas
presented different social functions and aesthetic features beyond entertaining
effects due to multiple meanings of the Miaoshan legend as well as various
connotations. The popularization and development trajectory of religious dramas
can also be observed.
Also in Journal of Chinese Ritual, Theatre and
Folklore:
林智莉。〈誠齋雜劇的歷史定位──以宗教劇的承繼、創新與影響為討論〉。《民俗曲藝》145 (2004.9): 39-89。
Lin Zhi-li. “The Chengzhai Zaju in the History of Chinese
Theatre: Tradition, Innovation, and Influence on Later Religious Drama.” Journal of Chinese Ritual, Theatre and
Folklore 145 (2004.9): 39-89.