• CHINESE LITERATURE
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• v.98
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• pp.127-148
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• 2019

明初說教劇 《五倫全備記》的評價, 一直有毀譽參半, 否定意見更多. 1994年本人報告韓國奎章 閣圖書館本而引起討論, 但之後沒有更多材料進一步說明問題而討論也停止下來了. 但最近又發現 新材料, 可以澄清久擱著的丘濬 《五倫全備記》一案了. 根據新發現的兩個版本包括一篇序和凡例 三條半及一篇跋, 可以說明 《五倫全備記》是在景泰元年庚午年(1450)丘濬三十歲時南京寓言軒為 '世教'採用南戲形式而創作的. 第一次印行早在丘濬在世時, 後來經青錢父者亦在庚午(1510)改編付 與演出和印行, 再後的庚午(1570)張情不但說出該劇演出的信息, 還假錄此改編本并寫序肯定 '化民 成俗之意'. 傳播到朝鮮的就是后兩個本子, 都是改編本系統. 早期接受的方式是傳抄及改寫成小 說, 嘉靖初被選為譯官們的漢語教科書, 屢次被刻印, 因此留存幾種版本, 還被翻譯出版 《五倫全備 諺解》. 本文通過對 《五倫全備記》的創作、改編到傳播接受問題的澄清, 確認了 《五倫全備記》的 作者爲丘濬, 又說明了這文人的南戲劇本為適應觀眾而經過改編, 得到舞台生命的經過, 及傳播到 朝鮮之後的接受情況. 希望本文對久在缺如的中國戲劇史中明初部分增加認識有所幫助.

• (The) Research of the performance art and culture
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• no.40
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• pp.163-192
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• 2020

Sinjungsin Mask Play, one of Ttangseolbeop, is related to Seongjusin's life story. Sinjungsin Mask Play is a reconstruction of the story of the folk gods Seongjusin met while returning home. Seongjusin's life story proceeds in the form of Mask Play, and the monk who leads the sermon plays narration and main roles. Many believers play various roles and musicians. Sinjungsin Mask Play introduces many folk beliefs, sounds for intrigue, and talks. Sinjungsin Mask Play uses the same method of enumeration and repetition as the existing Mask Play. The repetition of a sentence or phrase plays a role in foreseeing the meaning of the context or foretelling the development of the plot to the audience. This repetition is intended to emphasize the situation of the scene and to create rhythm. Since Mask Play was exclusively for the common people, Mask Play actors use the repeating method commonly used in folk songs to form lines. This gives the audience a familiarity, effectively communicating the lines and responding to their tastes. Sinjungsin Mask Play borrowed people's way of playing for the public's mission. It inherits the dramatic forms of traditional traditional plays such as repetition of words or sentences or phrases, codification of words or sentences, borrowing of existing songs, and formal expression units. In addition, through repeated performances, believers can easily and easily learn and understand. This is the dramatic form and characteristics of Sinjungsin Mask Play. Sinjungsin Mask Play was handed down from Faith Communities and was used as a means of folk cultivation to spread illegality. Buddhism externalizes the process of accepting folk beliefs through Mask Play, and in the case of Shinto who participated directly or indirectly, they naturally acquire the belief system of Hwaeom Kyung through play. Sinjungsin Mask Play, one of Ttangseolbeop, can be said to have great value as an ICH, as well as popularization and mission.