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作 者:刘铁[1] LIU Tie(College of Arts,Liaoning University,Shenyang 100822)
出 处:《阴山学刊》2024年第2期21-30,共10页Yinshan Academic Journal
基 金:2020年国家社科基金重大项目“清代宫廷戏曲史料汇编与文献文物研究”(20&ZD270);国家社科基金一般项目“清代宫廷戏曲‘导演’文献整理与研究”(22BZW116)。
摘 要:《福寿延年》为清宫常演的多本寿戏,现今可见的早期剧本有嘉庆年间所用串关、题纲。在内廷搬演过程中,全剧经历个别处文字微调后总体保持稳定,每次仅据承应对象的变化对颂词做调整,以适应实际表演的需要。自嘉庆朝以后,其于同治、光绪两朝接连上演,尤以光绪一朝为盛,一直延续至光绪末期。演出场合主要为万寿承应,具体包括皇帝万寿承应和皇太后万寿承应,在慈禧四旬、五旬、七旬万寿时均有演出。此外,偶尔在一些节令如除夕或元旦承应演出中出现。具体演出形式有两种,绝大多数时为全本演出,个别情况下挑演部分出目。Fu Shou Yan Nian is the drama often performed in the Qing Palace.The early plays can be seen today was used in the Jiaqing period.In the process of its performance,the whole play was generally stable after individual fine-tuning,and was adjusted each time to meet the needs of the actual performance.After Jiaqing period,it was staged successively in Tongzhi and Guangxu period,especially in Guangxu period,and continued until the end of the Dynasty.The main performance occasions were for emperors and the Empress Dowager,and were performed on Cixi’s 40th,50th,and 70th birthdays.In addition,it occasionally appeared in some festivals such as New Year’s Eve or New Year’s Day performances.There are two specific forms of performance,the entire performance most of the time,and part performance in individual cases.
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