明代万历戏曲群体的地域特征  

Regional Characteristics of Opera Groups in Wanli Period of the Ming Dynasty

作　　者：赵晓晗[1] 廖强 ZHAO Xiao-han;LIAO Qiang(College of Literature,Southwest University,Chongqing 400715,China)

机构地区：[1]西南大学文学院,重庆400715

出　　处：《南昌航空大学学报（社会科学版）》2022年第4期67-76,共10页Journal of Nanchang Hangkong University(Social Sciences)

基　　金：2021年国家社会科学基金“安岳石窟佛经文献整理及文字研究”(21BTQ020);2021年重庆市教委人文社会科学重点项目“中国古代艺术的正统谱系及其当代价值研究”(21SKGH152);2009年教育部“中央高校基本科研业务费”重点培育项目“安岳唐代佛教石经整理”(SWU2009225)。

摘　　要：明代疆域辽阔,戏曲发展表现出鲜明的地域差异。宏观而言,万历年间的戏曲发展水平呈现出南盛于北、东盛于西,以北京、江浙为中心向四周扩散的特征。具体而言,各地的社会群体结构虽大体一致,但不同群体所起作用不同,催生了戏曲发展水平和方向的地域差异。江浙地区,文士群体的深度介入,把万历戏曲推向了高峰。北方地区,底层百姓的默默坚守,酝酿出了明末清初北方剧种的大爆发。安徽与山西,在徽商和晋商的差别影响下,呈现出不同的戏曲面貌。西南边疆和北方边塞等偏僻落后之地,由于移民性群体,出现了与内地最高水平接轨的戏曲现象。The Ming Dynasty had a vast territory, and the development of opera showed distinct regional differences. On the macro level, the development level of opera during the Wanli period showed the characteristics that the south was more prosperous than the north and the east was more prosperous than the west, with Beijing, Jiangsu and Zhejiang as the center and spreading around. In particular, although the social group structure in different regions was generally the same, different groups played different roles, resulting in regional differences in the level and direction of opera development. In Jiangsu and Zhejiang regions, the deep involvement of the literati group had pushed the Wanli opera to its peak. In the northern region, the quiet adherence of the people at the bottom of the country had bred the outbreak of northern opera in the late Ming and early Qing dynasties. Anhui and Shanxi, under the influence of the difference between Hui merchants and Jin merchants, presented different opera features. In remote and backward places such as the southwest frontier and the northern frontier fortress, due to the immigrant groups, there had been a phenomenon of opera that was in line with the highest level in the mainland.

关 键 词：万历年间 戏曲群体 地域特征 

分 类 号：K248[历史地理—历史学]