略论露台、勾栏与舞楼之关系  

Terrace,Gou Lan and Storied-Stage

作　　者：曹飞[1] 

机构地区：[1]山西师范大学戏曲文物研究所

出　　处：《戏剧（中央戏剧学院学报）》2011年第2期120-127,共8页Drama:The Journal of the Central Academy of Drama

基　　金：山西师范大学2009年度"中国古代演艺场所研究"课题组项目成果

摘　　要：露台是我国高台演出场所的最初形态,宋代以前的勾栏不论从形制上还是功能上都更接近于露台,与宋代出现的作为新型娱乐场所的瓦舍勾栏不存在继承演变关系。由于露台的特殊作用,唐代开始进入神庙,成为神庙祭祀献艺的场所,随着宋代市民阶层的增加和民众娱乐需求的扩张,神庙露台逐渐演化为舞楼,瓦舍勾栏就在这样的大背景下破茧而出,它吸收了露台演出的基本形式,设置舞台和坐席,又参考了神庙祭礼演出的核心内容为自己"正名",形成了具有中国特色的专业剧场。Lu tai（open platform） provided the earliest venue for dais performances in China.Gou lan（theatres with thick columns） before the Song Dynasty was close to the gazebo in form and function.It was not the direct predecessor of ＂gou lan wa she＂,the newly emerging venue of entertainment in the Song Dynasty.From the Tang Dynasty onward,lu tai became a part of the temple to hold fetes and sacrificial rites.Along with the increase of townsfolk and the growing demands for popular entertainments in the Song Dynasty,the temple platform gradually evolved into wu lou（storied-stage）.Under such a background,＂wa she gou lan＂ came into being.It absorbed the basic form of gazebo performance to set the stage and seats and refer to the core content of temple sacrificial rites to justify itself.Finally,it formed the professional theater with Chinese characteristics.

关 键 词：露台 勾栏 舞楼 演出场所 

分 类 号：J809.2[艺术—戏剧戏曲]