成立於1914 年的寶塚少女歌劇團（現寶塚歌劇團的前身），是由日本企業家小林一三（1873-1957）創立的，演員皆由未婚女子組成的商業演出劇團。該劇團於上世紀二十年代前後，對世界各國不同題材、形式的戲劇展開了積極的探索，並將習得之成果吸收、融入到了少女歌劇的舞臺表演之中。在這一過程中，寶塚少女歌劇團的導演和編劇們並沒有將目光局限於西方戲劇，他們對於中國傳統戲曲的關心也同樣濃烈。在那一時期誕生了不少由中國傳統戲曲改編而來的少女歌劇作品，首演於1923 年的歌劇《琵琶記》便是其中之一。

　　有著「南曲之祖」美譽的《琵琶記》，其劇本早在江戶初期（十七世紀）便傳入了日本。但長久以來，日本學界卻只將它作為一部文學作品進行討論、分析。而作為一部戲劇作品的《琵琶記》，其在日本的跨國改編及演出相關的研究卻很少。

　　本文對日本十九世紀末二十世紀初的相關文獻進行了收集調查，分析了寶塚少女歌劇團歌劇《琵琶記》的改編背景。並通過與高明所作原作的比較，對日本的戲劇創作者是如何將這個中國戲曲「寶塚化」之問題進行辨析。

　　The Takarazuka Shojo Kagekidan ( 寶塚少女歌劇団), founded in 1914 and renamed as the Takarazuka Revue ( 寶塚歌劇団) in 1940, is a theatre company based in Takarazuka City, Hyogo Prefecture, composing all performers of unmarried girls. In the 1920s, the Takarazuka Shojo Kagekidan began to explore dramas of different themes and forms from all over the world and tried to incorporate them into the performances of Shojo Kageki ( 少女歌劇). In addition to Western drama, Takarazuka Shojo Kagekidan’s directors and dramatists were also interested in Chinese drama, adapting many traditional Chinese dramas on the stage of Takarazuka Shojo Kagekidan. One of them was the Kageki Biwaki ( 琵琶記, The Story of The Lute), which premiered in March 1923.

　　The Story of The Lute, reputed as the “Father of Poetic Dramas” (or of South Song), was transmitted to Japan at the Age of Edo (the seventeenth century). However, ever since then, it has been discussed and studied as a literary work, not as a drama for a long time. The Kageki Biwaki produced by Takarazuka Shojo Kagekidan, as it were, is the only record of its cross-nation adaptation for Japan’s stage.

　　Based on the relevant documents of both the late nineteenth and the early twentieth century, this paper first presents a synopsis and introduction of the Chinese drama The Story of The Lute. Then it collates and investigates the translations and adaptions of The Story of The Lute in modern Japan. Finally, this paper analyzes the performance of Kageki Biwaki with reference to documentary and photographic sources, compares the text of Kageki Biwaki with the original Chinese version, and reconsider Takarazuka’s assimilation of Chinese opera.

寶塚少女歌劇；《琵琶記》；日本近代戲劇；中國戲曲；跨國改編

Takarazuka Shojo Kageki; The Story of The Lute; Japanese modern drama; Chinese Opera; cross-nation adaption