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作 者:王岩[1] WANG Yan(Research Institute of Chinese Operas,Chinese National Academy of Arts,Beijing 100012,China)
机构地区:[1]中国艺术研究院,北京100012
出 处:《贵州大学学报(艺术版)》2024年第6期115-124,共10页Journal of Guizhou University Art Edition
基 金:2019年国家社科基金青年项目“国家图书馆藏清宫戏曲文献研究”(项目编号:19CTQ017)。
摘 要:过往清宫戏曲的研究已经关注到连台本戏、节令戏存在昆弋并用的情况,而较少关注民间传入的南戏或传奇作品的弋阳腔演出。通过对弋阳腔《琵琶记》演出记录的梳理,得知清代前期与后期所演《琵琶记》折出存在明显差异,这与帝后好恶的转变和民间演出风尚的影响直接相关,而弋阳腔折子在宫廷的演出也呈现出由盛转衰的趋势。同时,以现存宫廷《琵琶记》剧本来看,不仅有弋腔单折,还有弋腔本戏,而且单折与本戏对应折出的内容基本一致,说明弋腔《琵琶记》存在一个改编为本戏到拆分出单折上演的发展过程。重新发现的《琵琶记》本戏是对明代通行本、选本和民间弋腔流行折出的综合,使用昆弋两腔交替演唱,使得研究者可以一窥清代前期宫廷改编南戏或传奇作品的基本方法。Past researches on the traditional court dramas in Qing Dynasty have noticed the coexistence of Kun Opera and Yiyang Opera in consecutive plays and seasonal plays,but has paid less attention to the performances of Yiyang Opera in southern operas or legendary works influenced by folk transmission.Through the sorting of the performance records of Yiyang Opera The Lute:Kao Ming's P'i-p'a chi,it is found that there are significant differences between its early and late performances in Qing Dynasty,which are directly related to the changing preferences of the emperors and empresses and the influence of folk performance trends.The court performance of Yiyang Opera also shows a trend from its prosperity to decline.At the same time,from the existing court scripts of The Lute:Kao Ming's P'i-p'a chi,it is observed that there are not only a single act,but also the corresponding acts in a complete play that are basically consistent,indicating a process of adaptation from a complete play to splitting into separate acts for performance.The rediscovered complete play of The Lute:Kao Ming's P'i-p'a chi is a combination of the prevailing editions,selections,and popular acts of Yiyang Opera in the Ming Dynasty,performed with alternating singing styles of Kun Opera and Yiyang Opera,allowing researchers to glimpse the basic methods of court adaptations of southern operas or legendary works in the early Qing Dynasty.
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