南曲曲牌【步步娇】排场及套式考论  

Textual Research on Paichang and Taoshi of Nanqu Qupai“Bubujiao”

作　　者：刘一心 LIU Yixin

机构地区：[1]苏州大学文学院,苏州215123

出　　处：《浙江艺术职业学院学报》2024年第3期42-51,共10页Journal of Zhejiang Vocational Academy of Art

基　　金：2019年度国家社科基金艺术学重大项目“新中国成立70周年中国戏曲史(江苏卷)”(项目编号:19ZD05);江苏省研究生科研创新计划项目“昆曲曲牌排场研究”(项目编号:KYCX24-3373)阶段性成果。

摘　　要：南曲曲牌【步步娇】在从宋元至清代的剧目中始终为途程类专用曲牌,且主要用于角色上场演唱,专用中又有一定的通用趋向。该牌排场在早期南戏中体现最为明显。套式层面,该牌在一出戏中构成套式的方式有五种,在宋元南戏中以自套为主,后渐多入南套及南北合套。该牌自套时主要为途程类排场,入套后由于音乐上的调适,非途程类排场明显增多。透过【步步娇】排场及套式演变之一点,实可洞见南曲孤牌研究进程之诸多现象。From the Song and Yuan dynasties to Qing Dynasty,Nanqu qupai“Bubujiao”has always been a special qupai for the journey.It is mainly used for role singing,and there is a certain trend of generalization in the special use.The Paichang of this qupai is most evident in the early Nanxi Opera.At the level of Taoshi,there are five ways for the qupai to form a Taoshi in a play.In the Nanxi Opera of the Song and Yuan dynasties,it is mainly self-set,and then gradually into the Southern Set and the North-South Set.When the qupai is set by itself,it is mainly used to describe the journey scene,and after into the Taoshi,due to the adjustment of music,the applicable scenarios are rich and varied.Through the evolution of the Paichang and Taoshi of“Bubujiao”,we can see many phenomena in the research process of Nanqu gupai.

关 键 词：南曲曲牌 【步步娇】 排场 套式 孤牌入套 

分 类 号：J808[艺术—戏剧戏曲]