從〈驚夢〉〈尋夢〉到《如夢之夢》：談古今劇場兩個居然照映的時空觀　113

前言  113

一、古今兩個談「夢」的戲：作者的思想背景和二劇的主旨  115

二、古今二「夢」的時空構想和生命思考  122

三、古今二「夢」的敘事結構和表演手法  129

結語  135

附錄一：《牡丹亭》分齣情節概要　138

附錄二：《如夢之夢》分幕情節概要  141

【提要】

《牡丹亭》是照耀崑劇劇壇四百多年來最閃亮的戲碼；《如夢之夢》則是臺灣現代戲劇編導賴聲川跨世紀的作品。二劇相隔四個世紀，對作者個人和他們的時代而言，都是重要的優秀作品；都提出對他們時代的劇場而言極為創新的時空概念。這些概念直接根源於他們對生命的理解和感受，關鍵著他們人生思考的成立。他們開創的不僅是戲劇的、文學的或美學的技術，更是生命哲學的思想深度。

《牡丹亭》的時空觀雖來自道家、佛教及道教的普遍概念，它所要強調的中心思想卻是「至情」論。對湯顯祖而言，情就是天地間的道，它有一個辯證的主體對象，即是「封建禮教」。從這個角度來看，它是很入世的。《如夢之夢》以《西藏生死書》中提到的「全景式的生命回顧」開展整個戲劇架構，並深受該書宗教思想影響。

《牡丹亭》對於清代中葉以前的傳奇劇場深具影響力；《如夢之夢》萌生自現代劇場，兩者的時空觀當然有著絕對的歧異，卻也有著不少令人驚艷、「居然」照映的創意。本文著眼於剖析二劇的時空構想及作者的生命思考，比較分析它們在劇場上究竟以什麼樣的敘事結構，結合表演手法來呈現他們的構想。

從〈驚夢〉〈尋夢〉到《如夢之夢》，兩者並觀，從一個作品穿越另一個作品，果然讓我們得到許多前所未有的認識。

關鍵詞：《牡丹亭》、《如夢之夢》、賴聲川、湯顯祖、時空觀。

From “Interrupted Dreams” and “Dream Seeking” to A Dream Like a

Dream: The Time-Space Perception of Two Theatres from the Past and Present

Abstract

While the renowned Mudan ting is the most shining example of Kunqu throughout its 400-year history, A Dream Like a Dream is a modern play directed by Stan Lai from Taiwan. Four centuries separate the two plays. For the authors themselves or the times when the works were produced, both are monumental in the sense that they embody an innovative perception of time and space that reflects the authors’ understanding of life and indicates certain degree of maturity in the authors’ philosophical as well as aesthetic outlook.

Though the time-space perception in Mudan ting is based on the principles of Buddhism, Taoism, and Taoist philosophy, what is emphasized is, ironically, love in its most profound sense. To Tang Xian-zu, the dramatist of Mudan ting, love is the dialectical opposite the feudalistic superego. From this viewpoint, his work is secular in nature. On the other hand, A Dream Like a Dream, influenced by the panoramic perception of life cycles expounded in The Tibetan Book of Living and Dying, is deeply religious.

Whereas Mudan ting has had a lasting influence on the development of chuanqi until the middle period of the Qing Dynasty, A Dream Like a Dream is the fruit of modern theatre. To be sure, the time and the setting in both plays are drastically different yet, surprisingly, they share something in common. The present study focuses on analyzing the time-space perception of each play and the philosophy of each dramatist conveyed through the narrative structure and the manner of presentation.

By comparing “Interrupted Dreams” and “Dream Seeking” with A Dram Like a Dream, new insights can be gained.

（紀蔚然譯）

Key words: Mudan ting, A Dream Like a Dream, Stan Lai, Tang Xian-zu, the time-space perception.