演出簡介

原典版《牡丹亭》——尋回傳統之美

你曾看過《牡丹亭》嗎？是否也經歷過它的多種演繹版本？
如今，一場回歸作品原初精神的崑劇演出，即將展開。
臺灣崑劇團誠摯呈獻原典版《牡丹亭》，邀您走入湯顯祖所構想的夢幻詩意世界。

一、什麼是「原典版」？

原文再現：本製作拋開改編與添詞，忠實依據湯顯祖原始文本，呈現作品之完整面貌，使觀眾得以聆聽原有的曲牌連套，並細細品味湯顯祖文字的典雅與深情。為使敘事更為完整，除常見的原典折子外，亦審慎編排多場戲段，並遵循「只刪不改」的原則，在不違背原文精神的前提下，建構連貫而流暢的劇情脈絡。

古韻今聽：原典音樂已難臻完全復原，本製作參考《納書楹曲譜》等較早且具權威性的文獻，力求重現當時崑曲的音樂風貌，使其古樸、從容的節奏得以在當代舞台中再次被聽見。

原著中的〈驚夢〉【皂羅袍】(英譯：Zao Luo Pao)是崑曲中的重要唱段，內容更是劇中重要的轉捩點。以下為唱詞：

【皂羅袍】
原來奼紫嫣紅開遍，
似這般都付與斷井頹垣。
良辰美景奈何天，
賞心樂事誰家院！
(合)朝飛暮捲，雲霞翠軒；
雨絲風片，煙波畫船──
錦屏人忒看的這韶光賤！

描述女主角杜麗娘在百花盛開的自家花園中，感歎生機勃勃的春天如同自身年方正茂卻養在深閨無人知曉，渴望自由的心思藉由幾句唱詞描述得淋漓盡致。

二、折目介紹

《牡丹亭‧驚夢》

明代湯顯祖《牡丹亭》一折。原作統稱〈驚夢〉，崑曲《牡丹亭》中分為〈遊園〉與〈驚夢〉兩折，描述南宋時期南安太守杜寶之獨女杜麗娘，在聽聞家庭教師陳最良的詩經《關雎》一課之後，居然動了懷春之情，與侍女春香到後花園春遊，見斷井頹垣，陡起傷春之感。歸房後，夢中與書生柳夢梅至後園相會，訂情而別。

The Urtext Version of The Peony Pavilion — Rediscovering the Beauty of Tradition

Have you seen The Peony Pavilion? Have you experienced its many adaptations?

Now, a grand Kunqu performance that returns to the work’s original spirit is about to unfold.

Taiwan Kunqu Opera Troupe proudly presents the Urtext Version of The Peony Pavilion, inviting you to step into the dreamlike, poetic world envisioned by Tang Xianzu.

1. What Is the Urtext Version?

Faithful Restoration of the Original Text

This production adheres strictly to Tang Xianzu's original text, without adaptation or the addition of new lyrics. By presenting the work in its entirety, audiences are able to experience the original sequence of qupai and fully appreciate the elegance and literary beauty of Tang's writing. To offer a more complete narrative beyond the commonly performed "urtext selections," multiple scenes have been carefully arranged according to the principle of “omission without alteration.” This approach preserves textual integrity while forming a coherent and fluid dramatic structure.

Ancient Sounds, Heard Today

Although it is impossible to recreate the original music in absolute terms, this production draws upon early and authoritative sources, including the Na-shu-ying Kunqu Score (《納書楹曲譜》), in an effort to restore the musical spirit of its time. The performance emphasizes the unhurried tempo and refined elegance characteristic of early Kunqu.

In the original text, "Jing Meng" (The Dream Interrupted) and its "Zao Luo Pao" are among the most important singing passages in Kunqu opera, marking a crucial turning point in the drama.

Zao Luo Pao

Originally, charming hues bloomed everywhere,
seeming to have bestowed them on broken wells and dilapidated walls.
Beautiful scenes, why blame the heavens?
Who has such a delightful courtyard for leisure and pleasure!
Morning flights, evening rolls, colorful clouds in the sky;
strands of rain, pieces of wind, smoke waves, painted boats—
how carelessly the wealthy squander the splendor of these golden years.

This aria depicts the heroine Du Li-Niang, wandering through her family garden in full bloom. She laments that the vibrant Spring season mirrors her own youthful vitality; yet, like her, it is confined and unseen. Through these few lines, her longing for freedom are expressed with striking emotional clarity.

Scene Summaries

The Peony Pavilion: "Jing Meng" (The Dream Interrupted)

An excerpt from The Peony Pavilion by Tang Xian-Zu of the Ming dynasty. In the original text, this section is collectively titled "Jing Meng." In Kunqu performance tradition, The Peony Pavilion divides it into two scenes—"You Yuan" (Strolling in the Garden) and "Jing Meng" (The Dream Interrupted). Set in the Southern Song dynasty, the scene centers on Du Li-Niang, the only daughter of Du Bao, the magistrate of Nan'an. After a lesson on the Book of Songs, specifically the poem Guan Ju, taught by her tutor Chen Zui-Liang, Du Li-Niang unexpectedly awakens to feelings of youthful longing. Accompanied by her maid Chun-Xiang, she wanders through the back garden, where the sight of abandoned wells and crumbling walls suddenly stirs a deep sense of springtime melancholy. After returning to her chamber, she falls asleep. In her dreams, she meets the young scholar Liu Meng-Mei in the garden. The two pledge their love before parting.