再论春台班艺术师承及对昆曲传承的贡献——以堂子为线索的考察  

A Further Discussion of “Tang-zi” in Chun-tai Class's Inheritance and Contribution to Kun Opera

作　　者：赵山林[1] 

机构地区：[1]华东师范大学中文系,上海200062

出　　处：《贵州大学学报（艺术版）》2018年第3期37-44,共8页Journal of Guizhou University Art Edition

基　　金：教育部哲学社会科学研究重大课题攻关项目"中华戏剧通史"(项目编号:10jzd0009)

摘　　要：徽班进京之后,众多堂子除侑酒佐欢以求盈利的消极一面之外,也承担了传授演剧技艺包括传承昆曲的职责,世代相传,形成了一定的传统。本文梳理与春台班关系密切的几条线索,包括檀天禄国香堂,陈纫香春福堂,及其衍生的景福堂,郑连贵净香堂。此外论及谢玉庭的熙春堂,陈凤林的藕香堂,江姓师傅的玉珠堂,陆文兰的松桂堂,陈四儿的近信堂,陆金凤的桐云堂。还论及弟子兼隶三庆、春台的胡喜禄西安义堂,弟子兼隶四喜、春台的钱阿四瑞春堂,力求理清其中的艺术师承关系,并通过春台班昆曲人材的层出不穷,昆曲剧目的蔚为大观,阐明春台班在特定时代对于昆曲传承所作的杰出贡献。After Hui school arrived in Beijing,many"Tang-zi"(a certain refined erotic club)undertook the teaching of theatrical skills besides offering wine and entertainment for profit from generations to generations and formed a certain tradition.This paper clarifies the relationship between Chun-tai Class and several"Tang-zi"such as that of Tian-lv-guo-xiang,CHEN Ren-xiang and ZHENG Lian-gui etc.to sort out their artistic succession.Chun-tai Class cultivated countless masters of Kun Opera with splendid works demonstrating the great contribution it made to the inheritance of Kun Opera in that specific context.

关 键 词：再论 春台班 师承 昆曲 传承 

分 类 号：J821.9[艺术—戏剧戏曲]