新編戲曲的題材，不外乎描述古代生活或現代生活，描述古代生活的新編古代戲，又可區分為新編歷史劇和新編故事劇兩種。新編歷史劇是根據歷史典籍記載的材料，以真實的歷史人物和歷史事件為依據進行創作；而新編故事劇，則是依古代小說、民間傳說、傳統劇目加以改寫，或依典籍中透露的蛛絲馬跡加以創編。在新編故事劇中，「改編傳統劇目」這一項較為特殊，因為它是將別人已經用過的戲曲題材重新「翻炒」，若使用不當，無法跳脫原劇的藩籬，那麼「翻炒」便沒有意義，可謂不易討好；但從另一個角度來看，隨著劇種不同、演員不同、劇作者切入的角度不同以及時代觀念的不同，同樣的題材，卻可作不同的詮釋，對劇作家而言，挑戰性極大。著名的戲曲學者張庚則說:「改編可以說是一種再創造」，本文為釐清敘述範圍，特別沿用張庚的文字，將這種針對傳統劇目的改編，稱為戲曲題材的「再創造」。 就中國戲曲而言，「再創造」的現象尤其普遍，不過，嘗試為舊作脫胎換骨並不是一件容易的事，為了具體說明同一素材的重塑、改造方法，本文選定了從元雜劇至當代戲曲都有刻畫的莊周戲作為範例，因為莊周夢蝶或試妻的題材人人耳熟能詳，卻仍一再被編劇青睞，連2000年諾貝爾文學獎得主高行健也不放過它，足見其膾炙人口又極具可塑性，因此藉由這一系列劇本的分析，當可對古典戲曲「再創造」歸納出明確、實用的法則。 The adaptation of drama material is either a story of ancient times or a description of modern lives. Drama adapted from ancient times can be categorized as historical and fictional. A new historical version is based on real characters and events in history; while a new fictional version is rewritten based on ancient novels, folklores, traditional drama, or bits and pieces from related literatures. Among flctional daptation, \"neo-traditional drama" is more challenging. If the adaptation can not breathe new life into the old storyline, the reinterpretation is meaningless. However, with a different genre and cast, the playwright can introduce the drama from a different viewpoint. Therefore, the writer uses the same drama material with a new interpretation. A renowned drama scholar Chang Jeng once said, "an adaptation is indeed a recreation." This article will use Chang Jeng's word "Recreation" to name this type of adaptation from traditional drama. "Recreation" is very popular in Chinese Drama. This azrticle chooses the dramas of Chuang Chou to exemplify the process of rebuilding raw materials. The popular "Butterfly Dream" and "Testing the Wlfe" of Chuang Chou were adapted numerous times. From Yuan Dynasty's "Za Chu" show to Nobel Prize winner Gao Xingjian, Chuang Chou's drama has been one of writers' favorite. The present study attempts, through analyses on the series of scripts, to sort out concise and practical rules for the "Recreation" of classical drama.
