청대 궁정희 극본집 『절절호음(節節好音)』의 판본 및 제작시기에 관한 고찰 = A Study on Version and Production of Palace drama set in Qing Dynasty “Jie Jie Hao Yin”

다국어 초록 (Multilingual Abstract)

『節節好音(Jie Jie Hao Yin)』, currently stored at National Library of China, is a Qing Dynasty Festival Court play script collection which was written by the Qing Dynasty’s Imperial Storehouse as one of its court dramas. It is consisted of 43 books and 86 scripts, covering 6 different Festival Court plays, including New Year’s Day, Lantern Festival, Yanjiu Festival, Snow Appreciation, Day of Kitchen God Worshipping and New Year’s Eve. From the day of Kitchen God Worshipping to Yanjiu Festival, is also a period of welcoming a new year and closing the old year, where celebration, banquet, drama and other performances are often taken place at the Royal Court. Therefore, this research is meaningful as theatrical performance and festival custom and culture during the Chinese New Year at the Royal Court of the Qing Dynasty could be studied through this piece of work. In addition, there are differences in how the script was written. Present Festival Court plays were mostly written in monochrome manuscript or red punctuates and 存庫本(Cunkuben: warehousing script), which was stored at the drama organization after actors used, were replaced with 安殿本(Andianben) in 『節節好音』, which was presented to the Emperor during the play. 『節節好音』 were written in multicolor, which also makes it unique and worthwhile to study its versions. Also, the fact that almost 90 scripts to be exact of Festival Court plays are stored at different institution for scientific research, including The Palace Museum, gives ample amount of reason to study this individually. But no researches were done so far as it was not easy to access the original manuscripts or to find history related to it. Some of the published are also incorrect and uncertain which brought confusion and dispute to some readers.
『節節好音』 is a five colored transcripts but not a five colored copy printed copy which uses yellow, red, black and green only, which makes it a four colored transcript instead. Also, originally it was consisted of all festival dramas covering all four seasons, spring, summer, autumn and winter (春夏秋冬), but now there is only an incomplete book of Spring Festival Drama (春天節戱) and Winter Festival Drama (冬天節戱). From 34 different types of facial makeup in operas portraits of characters in current 『節節好音』, we can also infer that Dragon Boat Festival Drama or part of Longevity Drama could have been included in the books. We should also look at the period of making 『節節好音』 to the Qianlong period, around 1746, not the late Kangxi period (1720). This is because Spring Festival Couplets, that were given to 張廷玉(Zhang Ting Yu) from the Emperor Yongzheng, appears in 『節節好音』, and also, in 『九宮大成南北詞宮譜 Xinding jiugong dacheng nanbeici gongpu』, Qupai: the names of the tunes to which Qu are composed, are used. Plus, the fact that Emperor Yongzheng’s taboo name ‘眞’ and Emperor Qianlong’s taboo name ‘弘’ were not used, could be another evidence that 『節節好音』 was written around Qianlong’s ruling period. It is also similar to those of the full-scale dramas of Qianlong’s ruling period where music scores and clappers were not recorded together, and how the stage cues, characters, tune and rhythmic entry are organized. It is hard to specify who the author of 『節節好音』 is, but it is assumed that imperial poets like 張照(Zhang Zhao), 王庭章(Yu Ting Zhang), 周祥鈺(Zhou Xiang Yu), who wrote Festival Court plays and Serialized Theatrical Performances over Qianlong’s ruling period, wrote 『節節好音』 as well. However, 『節節好音』 seem to put most of its themes at historical allusions and some are quoted from Chuanqi-poetic dramas of the Ming and Qing dynasties. Also as festival celebration dramas were performed in Ming Dynasty’s Royal Palace as well, it can be inferred that they are rearranged works that comes from heritage repertoires that existed, not Qing’s pure, original work. Through Imperial poet’s dramatization in the early Qing Dynasty, 『節節好音』’s literary value and artistry has advanced tremendously which made it more suitable for stage performances.