元明散曲中的水上演乐研究  

A Research upon Above-Water Performance of the Sanqu in Yuan and Ming Dynasties

作　　者：张帆[1] 

机构地区：[1]故宫博物院研究室

出　　处：《戏剧（中央戏剧学院学报）》2016年第1期15-25,共11页Drama:The Journal of the Central Academy of Drama

摘　　要：古人的演出活动,不仅仅局限在陆地上的戏台、厅堂等处,还存在一个水上演出系统。这个演出系统包括水傀儡、竞渡争标在内的各种形式的水嬉、游戏、戏曲、清曲、舞蹈等。它的发展脉络贯穿古今,有趣、丰富,自成体系。水上演乐,古称"水嬉"或"水戏",根植于先民们的水崇拜心理,起源于与水有关的祭祀活动,有宫廷与民间两条发展脉络。《全元散曲》及《全明散曲》中共有160余首涉及水上演乐,元、明两代各占一半。其内容绝大多数从属于民间;其演出空间主要包括岸上、桥边、舟中、临水轩亭等,呈现于与陆地演出不同的观演关系及美学追求。In ancient time, performing was not confined to opera stages and halls on the land area, there existed an above-water performance system, which includes water puppet, rowing and competing in various forms of splashing, game-palying, opera performing, singing and dancing, etc.. The above-water music performance is rooted in our ancestors＇ psychology of water worshiping; it originates from water related rituals including both royal and folk ones. All Verses in the Yuan Dynasty and All Verses in the Ming Dynasty cover over 160 songs related to water, each dynasty accounts for half respectively. The content mostly concerns with folk materials; in contrast with on-land performances, the varied above-water performing spaces including riversides, bridges, boats and pavilions present a different audience-performer relationship and aesthetic pursuit.

关 键 词：水戏 水嬉 散曲 演出空间 

分 类 号：I207.24[文学—中国文学]