| 摘要: | 本論文論述《泉腔目連救母》與《莆仙戲目連救母》中所建構的三界場域─地獄、人間和天界，並解析存在於三界之中的冥吏、神佛與眾生的形象。這兩部戲曲所建構的三界場域相當完整，特別是地獄的形象莊嚴不容侵犯，兼之森冷可怖，具有警醒世人切莫為惡的功用，建立起三界中公正無私的最終審判場所。這兩部戲曲在舞台上塑造了眾多凡塵俗世間的人物，本論文還著重討論劇本中社會底層小人物的形象，展現小人物在現實生活嚴酷考驗下的無奈，並論述劇本中的「惡人惡狀」和以「劉氏」為代表的女性形象。本論文也介紹兩部戲曲中所描寫的天界神佛，如：佛祖、觀音、閻王、城隍、判官、小鬼…等，他們栩栩如生、形象鮮明，不論是佛教或道教，也不論大小官吏，在戲曲中，他們都是附屬於最高決策者之下的執法者，奉玉旨、閻王之令，巡狩天地，鑒察人間善惡，但求執法立即、公正。除此之外，本論文也以「戲中有祭，祭中有戲」的雙重視角，為閩南入冥救親戲曲建立一個概略的架構，並逐一檢視分析閩南入冥救親戲曲的外在形貌與內在意涵，更總結說明閩南入冥救親戲曲在華人社會中的諸多功用以及對於生命關懷的總體價值。
This study discusses the three realms, hell, the vulgar world and heaven, constructed in both Quanzhou and Puxian versions of "Mulian Saves His Mother" and analyzes the image of the netherworld envoys, deities and living creatures in the three realms. The complete scenes constructed in the three realms in the two operas specify the inviolable solemnity and the horrifying gloom of hell to warn people about the consequences of evil deeds, taking hell as the place for final judgments. As for the vulgar world, this study focuses on the concept of “villains and their evil deeds” and the female image the Lius, representing the image of the underprivileged and their helplessness as going through tough challenges in real lives. In the two operas, beings in heaven such as the Buddha, Guanyin, Yama, city gods, magistrates, demons and so on are vivid. In either Buddhism or Taoism, those beings are all executives under the highest judge, hunting and investigating all good and evil deeds in the vulgar life instantly and justly under the order of Jade Emperor and Yama. Moreover, this study discusses the double dimension of “drama in the ritual, ritual in the drama” as general structure of Minnanese Save-Family-in-the-Netherworld operas. By reviewing the outer image and inner implications of the Minnanese Save-Family-in-the-Netherworld operas, this study lastly sums up the functions and the value of the Minnanese Save-Family-in-the-Netherworld operas in the Chinese societies. |
