Hsu Yung-fang. “Late Ming Wanderings through Space and Time: On the ‘Travel’
Volume of the Yuefu Hongshan.” Journal of Chinese Ritual, Theatre
and Folklore 226 (2024.12): 29-78.
許詠芳。〈晚明的時空漫遊：論《樂府紅珊》中的〈遊賞〉卷〉。《民俗曲藝》226 (2024.12): 29-78。
Abstract
During the late Ming Wanli era (1573–1620), zhezi xi 折子戲 (drama excerpts) were immensely popular, with troupes often
needing to select appropriate plays for specific occasions. The Yuefu
hongshan 樂府紅珊 (ca. 1602) is a methodically organized anthology of drama, with
its subject matter structured into sixteen distinct juan 卷 (volumes), each dedicated to a specific theme. This structured
organization is a defining feature of the Yuefu hongshan, which
meticulously arranges selected dramatic scenes to align with themes that are
relevant to specific occasions. This careful curation enhances how these scenes
connect with viewers, resonating with their senses and emotions, and
strengthening their cultural memories and feelings linked to special events.
This paper explores the complex relationships between the Yuefu
hongshan and enduring memories of specific places and events, highlighting
this work’s role in understanding the cultural landscape of that era. The focus
of this study is on two excerpts from the tenth volume of the Yuefu hongshan
(youshang 遊賞, traveling and
sightseeing): “Wuwang you Gusutai” 吳王遊姑蘇臺 (King Wu Tours Gusu
Terrace) and “Wang Shang jiaji you Xihu” 王商挾妓遊西湖 (Wang Shang Takes Courtesans to Tour the West Lake). These
excerpts are set against the scenic milieus of Suzhou and Hangzhou during the
late Ming tourism boom. By analyzing drama excerpts, other drama publications,
literati miscellaneous notes, paintings, and leishu 類書 (encyclopedias) from the late Ming period, the study aims to
uncover how the Yuefu hongshan accentuates travel-themed scenes and
cultural memories of touring. It explores the interplay between the dramatic
content and sensory experiences of live performances and armchair traveling, as
well as how these aspects align with the experiences of late Ming travelers.
在晚明萬曆年間（1573–1620），折子戲廣受歡迎，戲班經常根據特定場合選擇合適的劇目進行演出。《樂府紅珊》（約1602年出版）是一部精心編纂的戲曲選集，其內容按主題分為十六卷，以「齣」為單位，並根據「特定情境」進行分卷，此編纂方式是《樂府紅珊》的一大特色。這種特別的選曲編纂方式，將劇目與特定情境相互扣合，強化了劇目內容、演出場景與觀眾情感之間的聯繫，加深觀眾對於特定情境的感官記憶、文化記憶以及情感聯結。
本文探討《樂府紅珊》曲選文本內容及其特定情境與相關事件文化記憶之間的複雜關係，強調《樂府紅珊》於理解晚明文化景觀時所扮演的關鍵角色。本文以第十卷中的兩部「遊賞類」選齣：〈吳王遊姑蘇臺〉和〈王商挾妓遊西湖〉為主要研究對象，兩部選齣地景設定於晚明旅遊熱潮中的蘇州和杭州，與晚明興盛的旅遊文化相互呼應。通過分析選齣選並與其他戲曲出版物、文人筆記、相關畫作及晚明類書相比較，本文揭示《樂府紅珊》如何在曲選文本中強調其遊賞情境，與晚明旅遊文化記憶相連結，探討選本內容與其相呼應的現場演出及臥遊經驗中的多感官體驗，以及這些多感官經驗如何與晚明旅人的經歷相互呼應。