论南戏、传奇声腔的三个问题  

On Three Problems of Tunes in Nanxi and Chuanqi

作　　者：解玉峰[1] XIE Yufeng

机构地区：[1]南京大学文学院

出　　处：《戏剧艺术》2020年第3期39-50,共12页Theatre Arts

基　　金：国家社会科学基金“南北九宫谱系建构历程的文献学研究”(项目编号:18BZW082)的阶段性成果。

摘　　要：南戏、传奇演唱究竟使用了哪些声腔,这应该是无法有确切答案的。古人、今人提及者至少有三十余种,但理论上我们实际可将其分为两大种类:即方言入唱、“一唱众和”的“高腔”和官语入唱、“依字声行腔”的“昆腔”。各种声腔与作家剧作并不存在必然的对应关系,《浣纱记》等不一定是专为“昆腔”而作,同一文本可为不同声腔共享。反过来,同一声腔也可演唱结构体制完全不同的剧作。近百年来、特别是近六十年来,我们可能过高估计了“声腔”研究在整个南戏、传奇乃至整个中国戏剧研究中的意义,其根本原因在于近六十年来普遍流行的“声腔剧种”观念。There should be no exact answer to which tunes were used in Nanxi and Chuanqi,with at least 30 kinds of them mentioned in the past or at present.But theoretically,they can be divided into two categories:“Gaoqiang”,a dialect singing in which one sings and others chorus,and“Kunqiang”,a singing in official language in which the song is sung according to the sound of words.There is no inevitable corresponding relationship between the tunes and the writers’plays.A play like Huanshaji is not necessarily created for“Kunqiang”,as the same text can be shared by different tunes.On the other hand,the same tune can also be applied in plays of totally different structures.In the past 100 years,especially in the past 60 years,we might have overestimated the significance of“tune”study in the study of Nanxi and Chuanqi and even the whole Chinese theatre.The fundamental reason is the popular concept of“type of tune”in the past 60 years.

关 键 词：声腔 高腔 昆腔 剧种 

分 类 号：J80[艺术—戏剧戏曲]