清代梨园花谱戏曲评点初探  

A Preliminary Exploration of the Commentary on the Anthography of Chinese Operatic Circle in the Qing Dynasty

作　　者：张金蕾 ZHANG Jinlei(Zhengzhou University of Aeronautics,Zhengzhou 450046,China)

机构地区：[1]郑州航空工业管理学院,河南郑州450046

出　　处：《郑州航空工业管理学院学报（社会科学版）》2024年第3期69-72,79,共5页Journal of Zhengzhou University of Aeronautics(Social Science Edition)

基　　金：2020国家社科基金项目(20BZW067)阶段性研究成果。

摘　　要：梨园花谱是清代戏曲的衍生物,其创作者多是具有学识素养的文人。花谱中对戏曲伶人的评点,包含着对具有丰富舞台经验的伶人艺术实践的肯定,蕴藏着清代文人戏曲鉴赏的美学观念:在舞台表演上,重视体验与表现的艺术手段;追求“形神兼备”的艺术效果,警醒过犹不及的表演,体现了隽永、含蓄、冲淡的美学品味;对演员的品鉴,“色”与“艺”的权重发生改变,逐渐向重“艺”轻“色”的趋势发展。这些观点,相对较为零散、感性、含混,缺乏体系和理论的自觉,但颇有见地,具有一定的前瞻性,是深化清代戏曲研究的有益补充。The anthography of Chinese operatic cycle is a derivative of the opera in the Qing dynasty,and its cre⁃ators are mostly literati with scholarly knowledge.The comments on the opera performers in the anthogra⁃phy include the affirmation of the artistic practice of the performers who have rich stage experience and the aesthetic concept of the Qing dynasty literati’s opera appreciation:in the stage performance,it attach⁃es great importance to the artistic means of experience and expression;the pursuit of the“unity of form and spirit”of the artistic effect and the warning of the overly excessive performances reflect the aesthetic tastes of timelessness,implicity,and dilution;as to the appraisal of the performers,the weight on“col⁃or”and“art”has changed,whose trend is gradually developing from emphasizing“art”to lighting“col⁃or”.These views are relatively scattered,sensitive and vague,lacking in systematic and theoretical con⁃sciousness,but they are insightful and have a certain degree of foresight,and are a useful addition to deepen the study of the opera in Qing dynasty.

关 键 词：清代 梨园花谱 戏曲评点 

分 类 号：I207[文学—中国文学]