'一本一稿'的《琵琶记》及其版本成因

摘要

Lu Yidian, a famous bibliophile in the late Ming Dynasty once pointed out that the edition contents of Pi Pa Ji varied for its different edition and only few versions has the same content in the draft for many years.The existing editions of Pi Pa Ji published in the Ming and Qing Dynasties not only justify it, but also prove that these texts are the stage performance scripts in different time and at different places.By this token, different publishers adopt different performance scripts as the master copy, so the phenomenon of"Different versions with different editions"is naturally formed.In addition, nearly all classic works including Pi Pa Ji have the same phenomenon.Almost all the classical opera works on stage exist such a phenomenon in both Ming and Qing Dynasties.Even in contemporary, the text of artistic works for the same stage or the same movie or TV play tend to be provided with the characteristics of"Different versions with different editions"as long as the publishing house adopts the master copy from different manufacturer performance scripts.%晚明陆贻典曾指出, 《琵琶记》"刻者无虑百千家", 但其版本内容却"几于一本一稿".现存刊刻于明清时期, 特别是明代的各种《琵琶记》文本不仅印证了陆贻典的观点, 而且还证明了这些文本的底本多为不同时地舞台演出脚本的整理稿.因为不同的出版商采用不同的舞台演出脚本为底本, 这些文本自然在内容上形成了"几于一本一稿"的现象.另外, 类似的现象并非《琵琶记》独有, 凡是明清时期舞台上的戏曲经典, 它们的现存文本也大都呈现"一本一稿"的现象.即使在现当代, 同一部舞台或影视艺术作品的文本, 只要出版社采用不同出品方的演出脚本为底本, 各版本在内容上的"一本一稿"特征同样非常明显.