清中晚期江南十番与南北戏曲曲艺环流考论  

A Textual Research on the Interactions of Folk Music Jiangnan-shifan with Southern & Northern Operas and Folk Arts in the Middle and Late Qing Dynasty

作　　者：裴雪莱[1] PEI Xuelai(Communication University of Zhejiang,Hangzhou,Zhejiang 310018,China)

机构地区：[1]浙江传媒学院戏剧影视研究院,浙江杭州310018

出　　处：《贵州大学学报（艺术版）》2023年第2期60-66,共7页Journal of Guizhou University Art Edition

基　　金：国家社科基金艺术学青年项目“清代至民国江南曲社研究”(项目编号:17CB181);国家社科艺术类重大项目“中国戏曲班社通史”(项目编号:21ZD12)。

摘　　要：清中晚期是全国戏剧戏曲等艺术形式发生深刻转变的重要时期。兴起于民间、晚明已趋活跃的江南十番得到明清文人诸多描述,呈现出独特的艺术特征,且与戏剧演出有着千丝万缕的关系。江南十番从演出人才、演出曲目到伎艺传承等诸多方面与北京宫廷等演出场域形成南北环流。在戏曲曲艺生态共同体的视角下,对江南及宫廷等南北十番演出情况的考述,深入探考南北曲艺环流下的地方曲艺发展形态,重新审视清代戏曲曲艺生态场域及历史进程,显然具有重要的价值和意义。The middle and late Qing Dynasty was an important period for the profound transformation of artistic forms,such as dramas and operas across China.Jiangnan-shifan(folk wind and percussion music played with ten kinds of instruments in the south regions of the Yangtze River),which emerged in the folk and became more popular in the late Ming Dynasty,was depicted by many scholars in the Ming and Qing dynasties,displaying unique artistic features closely related to drama performance.Compared with the performance venues,such as in the palace in Beijing,Jiangnan-shifan embodied the interactions with the Southern and Northern operas in many aspects,such as,performers,repertoire and inheritance of performing arts.From the perspective of the ecological community of opera and folk art,it is obviously of great value and significance to examine their performances,and to explore the development patterns of local folk arts with the interactions of northern and southern folk arts by re-examining the ecological field and historical process of opera and folk arts in the Qing Dynasty.

关 键 词：清中晚期 江南 十番 南北 戏曲曲艺 环流 考论 

分 类 号：J809.9[艺术—戏剧戏曲]