案头还是场上:屠隆《昙花记》的演出与传唱  

Study or Stage?The Performance and Widespread Singing of Tu Long’s Tanhua Ji

作　　者：张晴柔 ZHANG Qingrou(Institute of Literature,Shanghai Academy of Social Sciences,Shanghai 200235,China)

机构地区：[1]上海社会科学院文学研究所,上海200235

出　　处：《宁波大学学报(人文科学版)》2025年第1期36-47,共12页Journal of Ningbo University:Liberal Arts Edition

摘　　要：明代中叶以后戏曲创作面临问题之一是部分剧本脱离场上演出,只能作案头读物。万历年间,宁波文人屠隆所作《昙花记》文辞晦涩、不遵曲律、结构散漫,长期被视为案头文学剧本的代表,仅由屠隆家班在小范围传播。然而,根据各类史料记载,《昙花记》在江西、福建等地亦有场上演出,其民间的演出与影响持续至明清之际。各类晚明戏曲选本都热衷于选录《昙花记》,因为《昙花记》的仙佛题材能引发时代共鸣,精彩关目可消解全本结构问题,典雅豪放曲词受清唱者喜爱。《昙花记》虽有戏剧艺术方面之不足,但契合时代需求,成为时人常演、爱唱的剧目,并非只是案头之作。After the mid-Ming Dynasty,one major issue faced in playwriting was that some scripts were detached from stage performance,serving only as reading material.The play Tan Hua Ji by Ningbo scholar Tu Long,written during the Wanli period,is regarded as a representative of such scripts.It is known for its obscure language,disregard for musical rules,and loose structure,which has long led it to be considered unsuitable for performance and singing,only occasionally staged by Tu Long’s family troupe on small tours.However,historical records indicate that Tan Hua Ji was performed in regions like Jiangxi province and Fujian province,with its influence in popular culture lasting at least until the late Ming and early Qing periods.Various late-Ming drama anthologies,aimed at guiding performance and singing,enthusiastically included Tan Hua Ji,suggesting that it was a widely performed and loved piece of its time.Its theme of immortals and Buddhas resonated with the era,its vivid scenes compensated for structural flaws,and its elegant and bold lyrics were favored by amateur singers.Despite its artistic flaws,it was far from disconnected from audiences and indeed met the demands of the time.

关 键 词：屠隆 《昙花记》 戏曲艺术 

分 类 号：I23[文学—中国文学]