| 摘要: | 大小梨園三流派皆有「十八棚頭」之說，但屬於大梨園的上路、下南都有口訣能明確算出十八齣戲文，小梨園七子戲於此卻付之闕如。本論文先討論「棚頭」的構成，了解何為「棚頭戲」，從而考校出「十八棚頭」的名義：「頭」是詞尾助詞無義，「十八」則用以泛稱數量。
七子戲所謂的「十八棚頭」，如同清代中期盛行的「江湖十八本」一般，指的是劇種所擁有受歡迎的傳統經典劇目，數量不一定是十八。分析各家訪查的說法，歸納出《陳三五娘》、《呂蒙正》、《郭華》、《劉智遠》、《董永》、《蔣世隆》、《高文舉》、《韓國華》、《葛希諒》、《朱弁》、《宋祁》、《江中立》、《楊文廣》、《潘必正》、《王昭君》、《張君瑞》、《雪梅教子》等，即是號稱七子戲「十八棚頭」的代表劇目。
In the Chinese drama, either in the school of Da Li-Xuan (大梨園), or of Xiao Li-Xuan(小梨園) is found the term “Eighteen Pan Tou,” which literally means 18 dramas. Yet, while exactly 18 dramas can be specified in Big Li Xuan Xi by reading the catchy slogans in its two branches, Shang-Lu (上路) and Xia-Nan (下南) , no specific dramas have so far been pinned down in Little Li-Xuan Xi, in particular, its branch, the Qi-zi Opera(七子戲). In this paper, I intend to explore the repertoire of “Eighteen Pan Tou” in Qi-zi Opera by tracing the term “Pan Tou.”
First, I will explicate the formation of “Pan Tou,” and the origin of “Pan Tou Drama.” Then going beyond the connotation of “Pan Tou,” I reach the conclusion that Tou (頭) is a particle and “eighteen” is just a general reference to a certain number popular dramas, not to speicifc eighteen dramas.
Third, I discuss of the term “Eighteen Pan Tou” in Qi-zi Opera. In my view, the term “Eighteen Pan Tou” in Qi-zi Opera refers to the well-liked dramas, as the well-known term “ The Pop 18,” which prevailed in Qing Dynasty, refers to those well-liked classic dramas in all schools, not necessarily to specific eighteen dramas. Nonetheless, a certain number of representative dramas can be labeled. After doing some researches, I have come to the conclusion that the following dramas are the leading repertoire in the “Eighteen Pan Tou”: Chen San Wu Nia,(陳三五娘), Lyu Meng-Zheng (呂蒙正), Guo Hua（郭華）, Liu Zhi-Long（劉智遠）, Dong Yong（董永），Jong Shi-Long（蔣世隆）, Guo Wen-Ju（高文舉）, Han Guo-Hua（韓國華）, Ge Xi-Liang（葛希諒）, Zhu Pin（朱弁）, Song Oi（宋祁）, Jiang Zhong-Li（江中立）, Yang Wen-Guang（楊文廣）, Pan Bi-Zheng（潘必正）, Wang Zhao-Jun（王昭君）, Zhang Jun Rui（張君瑞）, Qin Xue-Mei（秦雪梅） |
