清宫连台大戏《昭代箫韶》皮黄本的音乐编创  

The Musical Design of the Long-Form Serial Zhao Dai Xiao Shao in Beijing Opera by the Qing Court

作　　者：周丹 Zhou Dan

机构地区：[1]天津工业大学人文学院

出　　处：《艺术传播研究》2024年第4期101-112,共12页Journal of Art Communication

基　　金：北京市社科基金重点项目“曲体与金元古都文化研究”(批准号:21WXA001)的阶段性成果。

摘　　要：清光绪年间,慈禧太后命升平署将连台大戏《昭代箫韶》翻改为“乱弹曲白”,此后升平署和普天同庆班分别排演了皮黄本的《昭代箫韶》。该剧的翻改可谓晚清“昆乱消长”时期皮黄戏创作之缩影:两种皮黄本都具有明显的“昆乱杂糅”特征,昆腔曲牌在剧中主要作为程式性唱段使用;但二者在具体的腔调选用及板式编排方面又有不同的取向和做法,反映出同一剧目在音乐编创上的不同思路。从两种皮黄本中场景音乐的运用情况来看,当时特定的戏剧情境中已有一些专用的器乐曲牌或带唱词的“大字牌子”。During the Guangxu period of the Qing Dynasty,the long-form serial opera Zhao Dai Xiao Shao was adapted for drama using Xipi and Erhuang under the command of Empress Dowager Cixi.Since then,there were two versions of the Beijing opera Zhao Dai Xiao Shao,one performed by the Shengping Institution(an organization in charge of all court opera performances)and the other by the PutianTongqing Thea-trical Troupe.The adaptation of the play epitomizes the created script of Beijing Opera during the period of“the fall of Kunqu Opera and the rise of Luantan Opera”in the late Qing Dynasty.Both versions feature the mixture of Kunqu and Luantan,while Kunqu Qupai is mainly used as a stylized aria in the drama.However,the two versions show different orientations and practices in specific tune selection and rhythm arrangement,reflecting different notions in the musical adaptation of the same play.The scene music used in the two versions indicate that there had already been some dedicated instrumental or vocal Qupai in the specific dramatic situation at that time.

关 键 词：《昭代箫韶》 皮黄 昆乱杂糅 板式编排 唱腔 戏曲翻改 晚清戏曲 连台本戏 

分 类 号：J617.1[艺术—音乐] I207.37[文学—中国文学]