學者陸萼庭對乾嘉時期崑劇發展，提出所謂「折子戲的光芒」的評價之後，後世對於乾嘉以降的崑劇活動研究，多半集中在「折子戲」演出的探究。主要探討的問題包括「折子戲」的源頭、形成與發展，以及藝術價值作出多方的探求。在探究清代崑劇發展的情形時，「折子戲」的發展固然是十分重要的議題，但「全本戲」在演出形式的演變與發展，也是不容忽視的部分。 然而由於演出史料記載的不足、文獻爬梳的不易，使得「全本戲」的演出研究，長久以來依附於「折子戲」的光芒之下，未能獲得重視。本文以陸萼庭〈清代全本戲演出述論〉當中的劇作作為研究基礎，分為舊本作品以及新劇創作兩個部分，勾勒「折子串演」、「梨園改編」、「全本傳奇創作」等不同類型全本演出及其形式變化，並進而探究「全本戲」演出型態變異，所獲致的成就與意義。除了文獻分析，本文也力圖考索乾嘉以降「全本戲」的「舞臺演出」，對清代的傳奇創作，提出更為深刻的認識。After scholar Lu E Ting put forward the evaluation “The light of Opera Highlights ”on the development of Kunqu Opera of the Qianlong and Jiaqing period. The studies of the activities of Kunqu Opera of the Qianlong and Jiaqing period mostly concentrated on the study of “Opera Highlights.” The major problems include the source of the “Opera Highlights,” the formation and development of “Opera Highlights,” as well as its artistic value. Although the “Opera Highlights ” is a very important issue while exploring the case of the Kunqu Opera in Qing Dynasty, the evolution and development on the performance of “Full-version ” Kunqu Opera can not be ignored. However, due to the inadequate of the historical data and difficulty in reading literature, the study of the “Full-version” Kunqu Opera is not well-noticed. This paper is on the basis of the plays in Lu E Ting’s research “The discuss of ‘Full-version’ Kunqu Opera in Qing Dynasty .”Assorting the plays into old works and new creation works, in order to find out the different performance formation between the “Full-version” Kunqu Opera and “Opera Highlights ” , and to gain the achievements and significance of “Full-version” Kunqu Opera. In addition to the literature analysis, this paper seeks to discuss the Performance of “Full-version” Kunqu Opera since Qing Qianlong and Jiaqing, to put forward a more profound understanding of the development of Kunqu Opera in Qing Dynasty.
