“味”论在中国戏曲批评中的发展  

The Development of“Flavor”Theory in Chinese Xiqu Criticism

作　　者：陈威俊 CHEN Weijun

机构地区：[1]复旦大学中国语言文学系

出　　处：《戏剧艺术》2024年第5期148-160,共13页Theatre Arts

摘　　要：中国戏曲批评中的“味”论萌芽于元代,其产生深受诗词“味”论影响,所论涉及表演、音律、曲体风格等多方面。至明代,曲“味”论发展成熟,“味”成为戏曲批评的常用术语,频繁出现在有关曲辞、曲风、关目、曲唱的评点中。清代文人则在以“味”论曲的基础上,扩大了“味”论的批评对象。花谱热潮中频现以“味”品伶之现象,“味”始用于表示伶人的某种独特文艺气质。近现代以来,“戏味”逐渐代替“曲味”之说,“味”不仅成为评判戏曲演员唱腔表现力的综合性指标,也常指代流派、剧种的多样化风格。The“flavor”theory in Chinese Xiqu criticism emerged in the Yuan dynasty,deeply influenced by the“flavor”theory in poetry criticism,covering aspects such as performance,musical rhythm,and stylistic features.By the Ming dynasty,the“flavor”theory in Xiqu had matured,becoming a common term in Xiqu criticism,frequently appearing in commentaries on lyrics,styles,plots,and singing.In the Qing dynasty,scholars expanded the objects of“flavor”criticism.The trend of evaluating performers by their“flavor”emerged during the popularity of performer biographies,with“flavor”beginning to represent a unique artistic quality of performers.Since modern times,“Performance flavor”has gradually replaced“Xiqu flavor”as a comprehensive indicator of a performer's vocal performance and often refers to the diverse styles of schools and genres.

关 键 词：味 曲味 戏味 戏曲批评 

分 类 号：J80[艺术—戏剧戏曲]