民国时期《荆钗记》在温州的演出与版本变化  

The Communication and Variations of Jingchaiji in Wenzhou during the Republican Period

作　　者：陈慧君 CHEN Huijun(School of Humanities,Shanghai Normal University,Shanghai 200234;Zhejiang Academy of Culture and Tourism Development,Tourism College of Zhejiang,Hangzhou 311231)

机构地区：[1]上海师范大学人文学院,上海200234 [2]浙江旅游职业学院,浙江省文化和旅游发展研究院,杭州311231

出　　处：《文化艺术研究》2024年第5期70-77,115,共9页Studies in Culture and Art

摘　　要：自北宋末期南戏在温州诞生以来,各种戏曲样式在温州蓬勃发展,并始终保留南戏的艺术特征,体现着南戏的发展轨迹。民国时期,温州的《荆钗记》演出延续着南戏的美学风格,在故事上细致展现钱玉莲的悲凄命运,在演出上强调出目的新颖组合与丑角的插科打诨,在音乐上表现出曲文、曲调的灵活变换,呈现出故事更新颖、曲调更富于变化、表演更具趣味性的舞台风格。受温州当地崇尚喧闹的审美趣味,以及温州人自觉的创新意识影响,在发展过程中,温州地方剧种始终融合地方审美特色,不断借鉴其他表演艺术,展现出与南戏一脉相承的美学特征与发展轨迹,不仅形成了独具地方特色的艺术风格,而且具备了不断传承与创新发展传统文化的持续动力。Since the emergence of Nanxi in Wenzhou at the end of the Northern Song Dynasty,various forms of Chinese opera have flourished in the city,preserving Nanxi's artistic features and reflecting its history.During the Republican Period,the performance of Jingchaiji in Wenzhou inherited Nanxi's aesthetic,portraying the tragic fate of Qian Yulian and emphasizing innovative combinations of acts alongside the humorous involvement of the chou role.It also demonstrated flexibility in lyrics and melodies,showcasing more innovative storytelling,richer melodies,and more entertaining performances.Influenced by Wenzhou's preference for liveliness and novelty,the city's local theatrical forms integrated traditional elements while drawing from other performing arts,demonstrating aesthetic traits and developmental paths aligned with Nanxi.This led to a unique artistic style with strong local color and contributed to the dynamic evolution of traditional culture.

关 键 词：《荆钗记》 南戏 温州 审美趣味 创新意识 民国时期 

分 类 号：J825[艺术—戏剧戏曲]