《拜月亭》刻版插图与戏文中的伞戏演变  

Evolution of Umbrella Performances in Different Editions’Illustrations and Text of The Moonlight Pavilion

作　　者：罗雁泽 LUO Yanze(College of Chinese Languages and Literature,Fujian Normal University,Fuzhou 350007,Fujian,China)

机构地区：[1]福建师范大学文学院,福建福州350007

出　　处：《铜仁学院学报》2020年第1期86-93,共8页Journal of Tongren University

摘　　要：《拜月亭》不同版本的插图对伞戏的表现存在异同。伞戏起码在《风月锦囊》刊行的时期就出现在舞台表演之中,其后刊行的版本插图中伞戏出现新变,也影响了舞台上的伞戏表演。与之相应,弋阳腔与青阳腔的《拜月亭》选本(滚调时本)中,存在抢伞与还伞的戏文,这些独特的戏文应是继承并发展了早期舞台演出中的初级伞戏。莆仙戏《蒋世隆》则在滚调时本的基础上,对其伞戏进行二次创作,使伞道具成为通部戏前半段的重要"戏眼"。乾隆时期,昆曲因受花部影响,最终在钱编《缀白裘》中将有关"隆兰相遇"的出目定名为《踏伞》,沿用至今。Different editions’illustrations of The Moonlight Pavilion show difference of umbrella performances.At least,umbrella performances appeared in the stage performance during the period of the publication of Fengyue Jinnang,and evolved in the illustrations of The Moonlight Pavilion’s different editions.Accordingly,there are performances about grabbing and returning umbrellas in Yiyang voice and Qingyang voice’s selectivity editions(contemporary editions of Gun voice)of The Moonlight Pavilion,which should be the inheritance and development of the primary umbrella performances in the early stage.Jiang Shilong,a play in Pu Xian opera,inherited the same play in earlier editions of Gun voice,and created umbrella performances again,which made umbrellas became the most important property in the top half of this play.During the Qianlong period,Kun opera was influenced by Hua operas deeply,so that Zhui Baiqiu,a selectivity edition of Kun opera,named the story about the meeting between Long and Lan as Stepping on The Umbrella until now.

关 键 词：《拜月亭》 伞戏演变 插图 戏文 

分 类 号：I206.2[文学—中国文学]