伎艺表演的离合与中国古代戏曲脚色格局的变异  

The Evolution of Character Roles in Ancient Chinese Xiqu Alongside the Integration and Separation of Traditional Performing Arts

作　　者：范德怡 FAN Deyi

机构地区：[1]集美大学海洋文化与法律学院

出　　处：《戏剧艺术》2024年第3期26-34,共9页Theatre Arts

基　　金：教育部人文社会科学研究青年基金项目“元杂剧角色符号研究”(18YJC751010)的阶段性成果。

摘　　要：伎艺表演在中国有悠久的历史。在演艺综合化的大趋势中,各类伎艺表演都被纳入中国古典戏曲表演的范畴,于宋元之际产生了全本戏。全本戏根据角色在剧中的主次地位为其派定脚色类型,形成了由主要脚色、次要脚色和过场脚色所构成的三层脚色体系。明清之际,演艺综合化的趋势出现了异变,伎艺表演在戏曲表演中的独立性有所增强。这些不一定以塑造角色为核心、也不完全为剧情服务的伎艺表演,成为那一阶段中国古典戏曲表演的主体内容之一。伎艺表演的分离,使得全本戏逐渐解体,折子戏逐渐兴盛。随着折子戏的兴盛,各脚色的地位又发生了进一步的改变,部分脚色赢得了新的优势地位,重新构建了清代以后中国戏曲脚色的新格局。The performance of traditional Chinese arts has a long history.Within the trend of integrated entertainment,various traditional performance arts have been assimilated into the category of classical Chinese Xiqu performances,giving rise to a new form of Xiqu known as the“Complete Play”during the Song and Yuan dynasties.The“Complete Play”categorizes characters based on their importance in the play,forming a three-tiered character system consisting of main characters,supporting characters,and transitional characters.During the Ming and Qing dynasties,there was a deviation in the trend of integrated entertainment,leading to an increased independence of traditional performance arts within Xiqu performances.These performance arts,which did not necessarily focus on character development or solely serve the plot,became one of the main contents of classical Chinese Xiqu performances during that period.The separation of traditional performance arts gradually led to the disintegration of the“Complete Play”and the rise of“one-act play”.With the flourishing of“one-act play”,the status of various characters underwent further changes,with some characters gaining new advantages,thus reconstructing a new pattern of characters in Chinese Xiqu after the Qing dynasty.

关 键 词：伎艺表演 离合 戏曲 脚色格局 

分 类 号：J80[艺术—戏剧戏曲]