论皖南目连戏与青阳腔滚调的关系  

Discussing the Relationship between Mulian Opera and Qingyangqiang Opera

作　　者：纪永贵[1] 

机构地区：[1]池州学院文学与传媒学院

出　　处：《戏剧（中央戏剧学院学报）》2016年第2期37-47,共11页Drama:The Journal of the Central Academy of Drama

基　　金：国家社会科学基金项目"青阳腔研究"(项目编号:09BZW032)的阶段性成果

摘　　要：明代末年红极一时的青阳腔以拥有"滚调"而著称,但滚调从何而来?研究者有多种说法,一说是由弋阳腔而来,一说由余姚腔而来。但有学者早就论述过,弋阳腔在早期是没有滚调的,余姚腔的滚调也没有可靠的材料可以支撑。其实,滚调来源于皖南地区长期流行的目连戏中的佛道唱诵腔。最有力的证据就是明万历年间祁门人郑之珍编著的《劝善记》,过去学者多不认可《劝善记》中有滚调,但该书高石山房原刻本中至少有10例中号字体的滚调文字,向来为学者所忽略,这些正是滚调的早期形态。滚调的得名也从目连戏而来。Qingyangqiang Opera in the last years of Ming Dynasty is well-known for Gundiao tune. In fact, Gundiao tune derives from Buddhist chanting of Mulian Opera in South Anhui, the most powerful evidence lies in Quanshanji by Zhen Zhizhen in Wanli Period of Ming Dynasty, in Gaoshishanfang block-printed edition of the book are ten medium-font size letters of Gundian Tune, which represent the early form of Gundiao Tune. In addition, Gundiao Tune also gets its name from Mulian Opera.

关 键 词：目连戏 《劝善记》 青阳腔 滚调 佛道唱诵 

分 类 号：J825[艺术—戏剧戏曲]