清代中晚期《桃花扇》演唱与接受刍议  

On the Performance and Acceptance of The Peach Blossom Fan in the Middle and Late Period of the Qing Dynasty

作　　者：王亚楠[1] 

机构地区：[1]郑州大学文学院,河南郑州450001

出　　处：《成都大学学报（社会科学版）》2017年第2期68-74,共7页Journal of Chengdu University (Social Sciences)

基　　金：国家社科基金重大招标项目"<全清戏曲>整理编纂及文献研究"(11&ZD107)阶段性成果

摘　　要：《桃花扇》问世不久,即得到频繁搬演,孔尚任就曾多次在多地观赏自己的这部作品的演出。乾隆、嘉庆年间(1736-1820),《桃花扇》流传和上演的地域更加广泛,但演出次数减少,有记载的演出仍多为全本搬演,但已有折子戏的上演。道光朝至19世纪末,有记载的《桃花扇》的演出绝大多数都是折子戏或清唱。《桃花扇》清代演出的流变,与传奇戏曲在清代的演出形态的流变、昆腔与地方戏的"花雅"之争的动态发展有密切的关系。The Peach Blossom Fan was performed frequently after it first came out. Kong Shangren watched its per-formance in multiple places. The opera spread more widely during the Reign of the Emperor Qianlong and Jiaqing, but its performances decreased and most of them are full-length play and a small part is Zhe Zi play. The most of its performances are Zhe Zi play between the Reign of the Emperor Dao Guang and the end of the nineteenth century. The evolvement of the performance of The Peach Blossom Fan is closely related to the evolvement of the performance of the Chuan Qi opera and the controversy of the Hua and Ya between Kunqiang and local opera.

关 键 词：清代 中晚期 《桃花扇》 演唱 接受 

分 类 号：I207.37[文学—中国文学]