「人生如戲」與晚明清初的劇作實踐

Abstract

本文從「人生如戲」思想的發展流變為起始，梳理了此觀念在中國文化中的生發脈絡，並以明清之際戲劇中的「戲中戲」技巧與「自傳性戲曲」為焦點，探討此時期「實踐」與「觀念」之間的影響與互動。首先，本文考察、歸納了從秦漢至明清之際，涉及「人生如戲」意蘊的相關表述，並藉助觀念史研究的相關方法，欲在橫向探究各個時代中「人生如戲」思想特點的同時，亦縱向描摹此觀念的發展特點，管窺不同時代大眾的人生觀念與情感結構。其次，本文聚焦於「人生如戲」思想與明清之際戲曲「戲中戲」之間的交互，意圖說明戲曲「戲中戲」如何彰顯「人生如戲」的意味，以及「人生如戲」如何成為戲曲「戲中戲」形構的精神資源。此章首先辨析了「戲中戲」與「類戲中戲」的關聯與區別；並以日常生活中的「難言之隱」為情感的橫截面，說明「戲」與「人生」相互依託、相互補充、相互掩護的動態關係；除此之外，亦探索了「戲中戲」結構中複數的「觀看」與「表演」視角。最後，本文著眼於晚明清初「自傳性」戲曲與「人生如戲」觀念的相互滲透，討論了「傳記」與「戲劇」、「紀事」與「虛構」、「私人敘事」與「公共展演」之間的張力。此章首先從「記述」與「重塑」的視角，剖析劇作家與劇中自我的關係，看作者如何以戲劇之虛構為真實的人生境遇作註解，並以戲劇為寄託勾勒理想人生中的自我形貌；其次，此章聚焦於自傳性戲曲中雙重維度的自我——即「社會化」的「我」與「私人化」的「我」展開討論。藉由「自傳性」戲曲中的「春秋之筆」與「教化意圖」，分析了文人曲家在「自傳性」戲曲中的「社會身份」與「私人之我」的雙重展演。

This study starts with the exploration of the development and history of the concept that “life is like a drama” within the context of Chinese history, examining its interaction with theatrical practices such as the “play within a play” phenomenon and “autobiographical drama” during the late Ming and early Qing periods. It begins by tracing the expression “life is like a drama” from the Qin and Han dynasties to the Ming and Qing dynasties. Employing the methodology of concept history research, the author explores how this idea evolved across different eras, delineating its characteristics and tracing its conceptual shifts. The objective is to use this concept as a pivot to examine the public’s changing perceptions of life and emotional structures through time. The second part of this study examines the relationship between the concept “life is like a drama” and the “play within a play” structure during the late Ming and early Qing periods. It aims to demonstrate how the “play within a play” structure embodies the idea that “life is like a drama” and how this notion serves as a spiritual driving force in constructing such theatrical techniques. The chapter begins by distinguishing between “explicit play within a play” and “hidden play within a play.” It then explores “veiled emotions” in daily life to illustrate the dynamic interaction between “life” and “drama.” Additionally, the chapter reveals the multiple layers of “performing” and “observing” evident in the “play within a play” phenomenon. The final part of this study delves into the interaction between the idea “life is like a drama” and “autobiographical drama” during the Late Ming and early Qing periods. It aims to explore tensions between “biography” and “drama,” “non-fiction” and “fiction,” and “personal narrative” and “public performance.” Firstly, the chapter examines how playwrights employ the techniques of “description” and “reshaping” to annotate real-life adversities and portray idealized selves within their plays, investigating the relationship between the “real self” and the “constructed self.” Secondly, this chapter focuses on the dual dimensions of self in autobiographical dramas—specifically, “the socially oriented self” and “the private self.” Through an analysis of how playwrights comment on contemporary social events and their didactic intentions, this study aims to reveal the conflicting emotions these literati playwrights have about their identities.