【作者】 王胜鹏；

【导师】 姚伟钧；

【作者基本信息】 华中师范大学 ， 专门史， 2013， 博士

【摘要】 明清时期,江南地区的戏曲演出十分繁荣,成为人们文化娱乐生活的重要组成部分。当时,观赏各类戏曲歌舞表演,基本不受年龄、社会阶层、文化程度的限制,普及程度很高,演出形式也相对以前更为多样,以营利为目的的职业戏班表演逐渐增多,对民众日常生活的影响也非常广泛。本文立足于社会文化史的分析视角,着重探讨明清时期江南地区戏曲消费,并揭示其发展变迁的原因以及对明清江南民众日常生活的历史影响。主要分为六个部分：第一章主要对明清时期江南地区的经济、政治、文化及社会风尚等状况进行概述。明朝建立之后,政治上加强了专制统治,并定都南京,这就奠定了南京较高的政治地位。因此,江南地区一直都是明王朝加强统治的重要地区,很少经历战乱,政治相对比较稳定。江南地区一直以来也都是我国经济发达地区,随着生产力的发展,民众物质生活水平相对较高,有闲阶级群体不断扩大,普通民众文化消费的意愿更加强烈,为明清时期江南戏曲的繁荣奠定了坚实的物质基础。江南的文化也在明清时期进入了高峰阶段。不管是在文学、绘画还是在思想、教育等方面,都达到了较高的水平。社会风尚在进入明中晚期后也开始发生转变,在衣、食、住、行等方面奢靡之风逐渐盛行。这些变化都对戏曲等文化消费的发展起到了重要的促进作用。第二章主要阐述明清时期江南地区戏曲的发展历程。主要经过了四个阶段：一是南戏的复兴;二是昆山腔的发展；三是昆曲步入鼎盛；四是花部的勃兴。南曲戏文大约从成化年间开始在江南各地陆续变化出了诸多新的腔种,并在各地广为流布,而此时繁盛一时的北曲杂剧却一蹶不振,最终在明中期时逐渐消亡。随着魏良辅的改革,昆山腔成为主流。进入明万历后,昆曲迅速发展,明末时步入鼎盛。至清中前期,昆曲开始衰落,花部、乱弹戏迅速发展起来。第三章主要对戏曲演出群体展开研究,主要有三方面：演出场所、演出艺人、演出戏班。演出场所主要有五种：神庙祭祀、私家厅堂、茶楼酒肆、会馆宗祠、游船水畔。戏曲演出艺人在明清时期戏曲市场中也占有重要地位,主要包括职业艺人、家班艺人两大群体。戏曲戏班是专门从事戏曲表演艺术的团体或组织,主要包括职业戏班和家庭戏班两类。他们都是明清时期戏曲文化市场重要的组成部分,是戏曲文化产品的主要提供者。第四章主要分析了戏曲受众群体,主要包括观众的组成、欣赏需求、观戏时间和消费动机、价格等内容。在明清时期的江南地区,观众群体不仅规模很大,而且包括社会各个阶层。在戏曲演出过程中,各个阶层的观众欣赏需求也有所不同,对戏曲的创作和演出产生了深远的影响。明清两代的民众在观戏时间上也有差别。明代时,观众赏戏的时间较为随意,多集中于夜间,至清代,随着朝廷控制的加强,夜戏多被禁止。观众背后还存在着一定的消费动机,主要有娱乐动机、审美动机、交际动机、信仰动机、追星动机五种。在各种动机的促动下,民众不仅喜欢去听戏,而且也愿意为此投入大量的金钱和时间。第五章主要对明清时期江南地区戏曲的政府管理以及民间自律展开研究。相对来说,明代政府对于戏曲的管理相对宽松。入清以后,清政府加强了对各种“淫词”戏曲小说的管控力度,有意识地去强化程朱理学,推行儒家文化为主体的政治教化。清代官方在沿袭历代禁戏的诸种策略和手段基础上,强化了制度性禁戏的网络,利用士绅舆论和民间经济力量,由官方设立专门的机构,大规模查缴禁毁戏剧剧目与演剧活动,这对清代戏曲的发展走向都产生了强势控制和决定性影响。在管理的手段上主要包括限制演出场所、时间,规定演出内容,严格管理演员和观众等。从民间自律角度看,明清时期戏班不仅成立了专门的行会组织负责管理,而且在戏班内部都形成了一定的规范。总体来说,明清两代对于戏曲的管理正逐渐制度化与规范化。第六章主要对明清时期江南地区戏曲消费的变化与影响进行历史考察。明清时期江南地区的戏曲消费发生了一系列变化：演出场所逐渐固定、完善；演出艺人的社会、经济地位相对提高；戏班的市场意识逐渐增强；戏曲受众囊括社会各个阶层,戏曲消费意识不断提升。而商品经济的发展,民众日常生活的需要,文化市场的整体繁荣等都是推动江南地区戏曲消费发展变化的主要动因。戏曲消费的不断变革也对民众日常的物质和精神生活产生了一系列的影响,不仅丰富了民众的娱乐生活,引导民风向善,调整社会关系,而且带动相关产业发展,提高了社会就业率,但与此同时也造成了奢靡之风的弥漫。更多还原

【Abstract】 During the period of Ming and Qing Dynasty, the performance of dramatics in the south of the lower reaches of the Yangtze River flourishes profusely, thus becoming an essential part of people’s recreational activities of that epoch. At that time, people from all levels of the society have access to enjoying the various dramatics performance regardless of their age, gender, social class and standard of culture and so forth. Simultaneously, enjoying a wide popularity coupled with increasing performance forms and growing performances of commercial troupe for the purpose of making profits, the dramatics performance exerts an extensive influence on the daily life of the public. Based on the perspective of social and cultural history, the present paper succeeds in putting emphasis on the discussion of the dramatics performance in Jiangnan area during that period of Ming and Qing, and then explicates the hidden reasons behind this phenomenon together with the historical influence on the society of that period. The paper is divided into six parts:Chapter one is a brief overview on the economics, politics, culture, and the social climate in the south of the lower reaches of the Yangtze River in Ming and Qing dynasty. After the establishment of Ming dynasty, Zhu Yuanzhang politically strengthens the despotic rule and makes Nanjing the capital, thus laying firm foundations for Nanjing’s political standing. As a result, with less war and relatively steady politics, the south of the Yangtze River has becoming the crucial area in which the Ming dynasty consolidates the rule. The south of the Yangtze River has so far been the developed area in China. With the development of productive forces, people’s living standards rise relatively and group of the leisure class has continuously expanded with further strong desire for cultural consumption for the masses, all of which build the firm material bases for the prosperity of dramatics of the south of the Yangtze River during the Ming and Qing dynasty. Similarly, the culture in this area reaches its peak mainly including the fact that regardless of whether the literature or painting, ideology or education, all of these reach a higher stage. In the meanwhile, the social climate also makes a shift which is reflected in the increased popularity of extravagant tendency in the basic necessities of life since the middle and late period of Ming, which is also a significant promoter action for the development of cultural consumptions such as the dramatics consumption.Chapter two is a brief introduction of the development course of dramatics in Jiangnan area during the period of Ming and Qing. The development course can be summarized into four stages in the following:firstly, the reconstruction of the southern drama; secondly, the development of Kun Shan tune; thirdly, the grandeur of Kunqu Opera; the last one is the vigorous growth of local operas. Almost in1471, the skit of Southern Tunes gradually comes to develop many new tunes in different areas of the south of the Yangtze River and becomes prevalent among them while the Za Ju of Northern Opera flourishes under the dynasty falls into a decline, which eventually dies out in the middle period of Ming. With the reformation of Wei Liangfu, Kun Shan tune has gained its prominence. After the year of the Ming Emperor Wanli, Kunqu Opera develops rapidly and culminates in the late period of Ming dynasty. Until the earlier and middle period of Qing, Kunqu Opera comes to decline and the local operas advance rapidly.Chapter three indicates a research on the performance group of dramas, chiefly reflecting in three aspects:the place of performance, the artists of performance and the troupe company of performance. There are basically five kinds of performance places, that is, mortuary temple, private hall, tearoom and tavern, Ancestral Hall and boat or the waterside. In addition, the artists of performance, mostly concluding professional performer and family troupe, play a vital role in the dramatics market of that period. Primarily concluding professional troupe company and family troupe, the troupe company refers to the group or organization specializing in the dramatics performance, which is also a necessary part in the cultural market of dramatics in that period and the main provider of the products of dramatics culture.Chapter four examines the audience group of dramatics, consisting of the component of the audience, time of the theatergoing, as well as the motivation and price of dramatics consumption. The audience from the south of the Yangtze River in Ming and Qing dynasty are very large, including the different levels of the society. During the performance of dramatics, the appreciating drives of audience from all classes differ consequently, which have a deep impact on the dramatics creating and performance. What’s more, the theatergoing time of the audience in Ming and Qing dynasty varies. In Ming, the audience choose the time to appreciate the dramas according to their wishes, but mainly at night. However, in Qing, most evening performances are forbidden with the enhancement of the Court’s control. On the other hand, certain motives of this consumption including five needs such as recreational need, aesthetic need, communicating need, belief need and star-pursuing need exist. With the help of these needs, the audience not only feel like going to the theater, and also spending a plentiful of time and money.Chapter five addresses an analysis on the government’s management and the self-regulation among the people concerning dramatics in Jiangnan area in Ming and Qing dynasty. Relatively speaking, the governmental management of Ming over the dramatics is slack. Since the Qing dynasty, the Qing government reinforces the control of varied dramas and fictions in connection with "obscenity" in order to consciously carry out the political education mainly containing the enhancement of the Neo-Confucianism and the implementation of Confucian culture. Based on various strategies and methods of banning the drama in successive dynasties, the authorities in Qing intensify the institutional system of banning the drama and make use of the public opinion and the folk economic force and the specialized institution established by the government to confiscate, ban and destroy the drama programs and dramatics activities on a large scale, thus strongly and fatefully influence the development tendency of dramatics in Qing dynasty. The methods of the management include the restraint of performance place and time, the strict control over the performers and the audience. In light of the self-regulation among the people, the troupe company in Ming and Qing dynasty not only set up specialized organization to be in charge, they also form certain norms inside the company. In general, the governmental management in Ming and Qing dynasty systematizes and normalizes gradually.Chapter six suggests a historical observation about the changes and influences of dramatics consumption in Jiangnan area during period of Ming and Qing. The Ming and Qing dynasty is a period in which the traditional society revolutionarily changes. The dramatics consumption in Jiangnan area makes a series of changes:the place of performance gradually becomes fixed and complete; the social and economic states of the actors rise relatively higher; the market conscious of the theatrical troupe comes to heighten; the consumption awareness of the audience from all levels of the society come to promote. However, the development of commercial economy, the daily need of the public, and the general prosperity of the cultural market are the main motives to promote the change of dramatics consumption in Jiangnan area. The constant changes of dramatics consumption have numerous effects on people’s material and spiritual life, which on the one hand enriches the recreational life of the public, perfects the folkway and adjusts social relations, spurs the development of relative industries and enhances the employment rate of society on the other hand. Nevertheless, these changes at the same time bring about the prevailing of extravagant vogue.更多还原