| 摘要: | 「取經」科儀內容取材自民間流傳之唐僧西天取經故事，故事包含了宗教思想，再加入庶民對死後世界的幻想，及對心中想望的寄託，在口耳相傳的擴增與渲染下，形成一特殊的文學面貌，本論文主要在探討其文學及戲劇展演上，展現出的奇幻氛圍與其背後隱含的寓意。
「取經」科儀為釋教喪葬做功德儀式中的一個科儀，臺灣釋教喪葬做功德儀式與大陸香花佛事有相當深厚的淵源，故在探討「取經」科儀前，需先從香花佛事與臺灣釋教喪葬做功德的歷史淵源談起。
分析科儀之敘事手法、情節架構、人物性格刻畫，為本論文探討的重點，「西遊記」故事之所以引人入勝，就在其角色個性突出，故事情節充滿奇趣，「取經」科儀限於其展現方式，在人物的性格塑造上雖較為扁平，但科儀本身具有的濃厚宗教色彩、道士的即興賓白演出及大量使用庶民俚語，都是其他「西遊記」文本沒有的特質。
此外，法師們在劇中的即興演出，也在「未刻意安排」中真實的呈現出客家人的兩性觀，及客家社會中的兩性對待，正因為客家「取經」科儀展演的「即興」與「未刻意安排」特質，我們得以藉客家「取經」科儀文本，探討早期客家社會中兩性的人格特質差異，及性別角色欲望。
;The concept of “Pilgrimage” in the texts of Taoist rites originates from a folk tale, “The Journey to the West”. It is a novel about the journey of SanZang, a monk in Tang dynasty, who travelled to the west regions of China (Central Asia and India) for searching the Buddiest Sutra. This story is combined with people’s religious perspective, hopes and desires, and their imagination to the world of after death. As time goes on, it gradually has its own position in literature. This article, then, is to discuss the fantasy and metaphor behind it in literature and drama performances.
In Taoist rites, “Pilgrimage” is a part of the rites of dedicating merits for the dead in funeral ceremonies. The dedication of merits for the dead in funeral ceremonies in Taiwan has a close relationship with Xianghua Foshi (Buddiest rites of burning incense and flowers) in China. Therefore, it is important to know the historical background of their relationship before discussing “Pilgrimage” in the texts of Taoist rites.
The focus of this article is on analyzing how the structure of the story and the personalities of characters are written in the texts of Taoist rites. The reason that “The Journey to The West” is appealing to readers is because of the description of the vivid personalities of characters and its attracting storyline. Comparatively, the depiction of characters’ personalities in the texts of Taoist rites is comparatively plain because of its restriction in its way of presenting things. However, the religious elements, improvisational performances of Taoists, and the use of folk languages that do not exist in other texts of “The Journey to The West” also makes it special in literature.
Furthermore, Taoists’ improvisational performances in dramas, which is “not arranged in advance”, also genuinely present the perspectives of genders in Hakka society. Nonetheless, it is because the “improvisational performances” which is “not arranged in advance” that we are able to analyze the differences of personalities in issues and desires of genders through the “Pilgrimage” in the texts of Taoist rites of Hakka in their early society. |
