“闪下”内涵与表演形态的演进  

The Connotation of Shanxia and its Evolution of Performing Form

作　　者：薛雪 Xue Xue

机构地区：[1]贵州省社会科学院历史研究所,贵州贵阳550002

出　　处：《南京艺术学院学报（音乐与表演版）》2024年第4期134-138,I0003,共6页JOURNAL OF NANJING UNIVERSITY OF THE ARTS:Music & Performance

基　　金：贵州省2023年度哲学社会科学规划青年课题“贵州地方志所见演剧史料辑录与研究”(项目编号:23GZQN01)阶段性成果。

摘　　要：“闪下”作为一种戏曲术语,最早在元刊本中就已出现,用来表示虚拟的下场行为,并含有急切、躲闪之意。受到戏曲题材及人物脚色的影响,“闪下”的内涵和功能也不断丰富,与故事情节联系愈加紧密,在烘托氛围、塑造人物方面,亦发挥着独到作用,尤其与鬼魂角色搭配时,更衍生出特定的表演程式。由此,“闪下”不再是随时可被他词所替的状态,并脱离了原初的虚拟意义,成为一种实质性的下场动作。虽然仅是一个细小的科介提示,“闪下”的演变,既反映着剧本体制不断完善发展的过程,更揭示出戏曲创作从“曲本位”到“剧本位”的脉络走向,它的存在与意义不应被忽视。Shanxia,a term used in traditional Chinese theatre,initially appeared in publications in the Yuan Dynasty.It was used to describe a simulative exit from the stage and conveyed the sense of eagerness and avoidance.Influenced by the theme of the theatre and the background of the character,the meaning and the role of shanxia have evolved,becoming more closely tied to the storyline and playing a unique role in creating atmosphere and shaping characters.It developed a specific performing routine when paired with ghost characters.As a result,shanxia is now more than just a simulative action,but an actual act of leaving the stage,no longer being replaceable by other words.Although shanxia serves only as a small contextual reminder,the evolution of its connotation reflects the continuous development of the theatre script system and the shift in theatrical composition from a focus on music to a focus on the script.Therefore,its importance should not be overlooked.

关 键 词：“闪下” 鬼魂角色 表演形态 

分 类 号：I237[文学—中国文学] J812[艺术—戏剧戏曲]