论神庙戏台称谓及其雅俗之变  

A Study of the Naming of the Stages in Temples and the Interconversion of the Refinement and the Vulgarity

作　　者：王琳[1] 延保全[2] 

机构地区：[1]山西师范大学戏剧与影视学院 [2]山西师范大学文学院

出　　处：《戏剧艺术》2015年第3期70-77,共8页Theatre Arts

基　　金：2011年国家社科基金重大项目"金代文物与金代文学研究"(11AZW004)

摘　　要：中国神庙剧场的发展历经了宋金元、明、清几个时期,期间不断走向完备。每个历史时期的戏台形制、特点以及称谓不一而同。前两者学界已不乏讨论,然而关于神庙戏台称谓这一命题的研究,尚未见专门论述。对神庙戏台称谓进行"统计"研究,可以清晰勾勒出不同时期神庙戏台称谓之变化及其背后反映的文化现象,尤其明确"礼乐"文化对神庙剧场的深刻影响以及由称谓"雅俗"变化带来的戏曲观念的改变。神庙戏台称谓不仅体现着戏曲艺术发展的演变轨迹,亦是当时整个社会思潮的缩影。The ancient temple theater in China had developed through Song-Jin-Yuan Dynasties, Ming Dynasty and Qing Dynasty to reach its maturity. The shapes, features and the naming of the stages varied in different periods. There are quite some researches on the shapes and features of the stages, but few on the naming of them. Statistic data reveal the change in the naming of the temple stages in different historical periods and the underlying cultural phenomena, especially the profound influence of the Li and Yue （the cultivation with rites and music） culture on the temple stages and the change in dramatic notions that came along with the interconversion of the ＂refinement and the vulgarity＂ in the naming of the stages. The naming of the temple stages not only demonstrates the trace of evolution of the dramatic arts, but also reflects the ideological trends of the contemporary societies.

关 键 词：神庙剧场 戏台称谓 “礼乐”文化 “雅俗”变化 

分 类 号：J80[艺术—戏剧戏曲]