清代常州剧坛研究

【作者】 胡瑜；

【导师】 陆林；

【作者基本信息】 南京师范大学 ， 戏剧文学， 2013， 博士

【摘要】 本论文以清顺治元年(1644)至宣统三年(1911)常州府所辖八邑之剧坛活动作为研究对象。论文主要选择了活跃在其中的四大活动主体(包括曲家群体、雅好戏曲之文士群体、女性群体、民众)作为主要的研究视角,紧密联系清代常州士风之于剧坛的渗透与影响,通过对文人群体的戏曲创作、家班活动、观剧狎伶、题咏评论,以及女性群体的戏曲接受与民间的演剧活动进行全方位的考察,并由此构筑清代常州剧坛的风貌特征。论文分为上下两篇,上篇重点研究曲家群体,下篇则以其他三大活动主体作为研究对象。清代常州共涌现出了54位戏曲家,虽具数量之多、成果之富、影响之著几大特点,却向来缺乏整体研究,因此论文通过上篇的一至三章按照历史演进的顺序,分为清初、清中期、近代三个相对独立的时段,对曲家群体的创作活动及时代特征展开研究。第一章以清初曲家群体为研究对象,对其科举与党社身份、家族网络、亡国与游幕之创作情境、追思风流的创作观念进行探讨,指出明清之际以东林、复社为代表的士风沿习对常州戏曲创作的影响,并结合万树、郑瑜、嵇永仁的创作论述清初常州戏曲中“文”与“质”的此消彼长及趋于互融。第二章清中期曲家群体研究,关注曲家群体的结构性新变,武进、阳湖逐渐取代了清初时期的无锡、宜兴成为嘉道年间曲家群体最为集中的地域,而更趋细密的伦际关系、身份地位的急剧下降亦构成了该时期曲家群的结构特征。与之相应,曲家的心态与创作之特色亦主要体现在了苦闷心态与“写心”之作、循吏追求与“吟风”之曲、才子心性与游戏之笔上。在乾嘉时期学风、文风的影响下,戏曲观念也主要表现为雅与正。第三章近代曲家群体研究,结合咸同年间江南社会局势与士人心态,指出经世思潮同为常州士风与曲风的重要构成理念,通过职业慈善家余治具有典型意义的戏曲活动,尤其是《庶几堂今乐》中孕育的具有现代意义的“教育戏剧”之雏形,重新确定余治在近代戏曲史中的地位与价值。继余治之后,光宣年间活跃于上海报业中,并有数位身兼兴中会、南社成员的常州曲家群体则顺利完成了由传统文人向现代知识分子的转型,他们积极提升戏曲载道的时代蕴藉,在创作中倾入启蒙与革命的进步思潮,既推动了历史发展也延续了士文化之于戏曲创作的积极影响。下篇分别以雅好戏曲之文士群体、女性群体、民众为研究对象。第四章以曲家之外的涉猎戏曲活动之文人群体为研究对象,透过刘嗣绾一生的观剧、咏剧管窥文人在戏曲活动中寄寓的情感与精神慰藉。以赵翼、赵怀玉、洪亮吉为代表的文士的戏曲题咏不仅对清代戏曲生态进行了较为全面的勾勒,更形成了丰富多姿的曲学观念。通过分析以陈维崧、庄培因、邹一桂等为代表的狎伶文士之事迹与心态,指出文士狎伶文化具有亦雅亦俗、亦正亦邪,及狂欢与忏悔相交织的复杂性。依托于文士阶层的崛起,常州地区家班活动亦蔚然成风,成为常州士风的另类表达。第五章女性群体的戏曲接受研究,指出常州女性的文学与戏曲观念与其他江南地域女性观念的不同之处在于,自觉主动地接受来自男性主流话语的影响,努力趋附于正统价值观。而女性戏曲接受的“越界”之举,正可作为士风之于常州剧坛影响的一则实例。第六章民间演剧活动的概况研究,由当前常州、无锡留存的清代古戏台群落,及戏曲碑刻、史地文献、诗文记载等文物、文献,勾勒清代常州民间戏曲活动之繁盛局面,认为以富庶的小农经济为基础的常州社会,至民初方才兴起文化消费之风,故而较之上海、苏州等都市更为封闭,而古风遗韵亦得以更完全地留存。官方与乡绅势力在庙宇、戏台的修缮、维护中既发挥作用,正统观念亦随之渗入民间,而昆曲则直至清末仍盛演于常州民间,并成为“常锡文戏”——锡剧的艺术源泉之一,实现了文士阶层审美习惯自上而下的影响。更多还原

【Abstract】 This thesis takes the theatrical activities of eight counties governed by Changzhou City as research subjects between1st year of Emperor Shunzhi (1644AD) and3rd year of Emperor Xuantong (1911AD). As a sample of scholar culture of Qing Dynasty, the penetration and influence of Changzhou’s scholar style on its theatrical circles are not only manifested through the drama creation, family troupe’s activities, keeping intimate relationships with actors when watching drama and poem and comment writing of the scholars, also it has crucial influence on female group’s acceptance towards drama and the folk’s dramatic activities. Thus this thesis has mainly chosen four principal bodies (including the dramatist group, the scholar group, female group and the folk with an elegant appetite for drama) to undergo the research, respectively examining scholar style’s influence on the activities of four principle bodies mentioned above and thus forming the features and characteristics of Changzhou’s theatrical circles in Qing Dynasty. This thesis is composed of two parts, with Part One focusing on dramatist group and the other taking the rest of the three principal bodies as research subjects.The total number of dramatists springing up in Changzhou of Qing Dynasty reaches fifty-four. Though the drama is large in number, rich in achievement and significant in influence, it lacks complete study. Therefore this thesis, following the sequence of history course in the first three chapters in Part One, concentrates on dramatist group’s creative activities and the characteristics of its time in three individual periods of time:the beginning era of Qing Dynasty, the mid Qing Dynasty and modern times. The first chapter targets the dramatist group at the beginning of Qing Dynasty, explores the imperial examination and status in party service, family network, creation circumstance of nation subjugation and shogunate, creation notion of memorizing the talented and romantic, and then concludes the influence on Changzhou’s drama creation by the continuation of scholar style, which is represented by the party of Donglin and Fushe during the end of Ming Dynasty and beginning of Qing Dynasty. In addition, by combining the creation of Wanshu, Zhengyu and Ji Yongren, it expounds the reciprocal relationship and final integration of "Wen" and "Zhi"(cultivation and congenital quality) in Changzhou’s drama at the beginning of Qing Dynasty. Research on dramatist group in mid Qing Dynasty in Chapter Two, focuses on the group’s new structural changes. Wujin and Yanghu gradually took the place of Wuxi and Yixing at the beginning of this dynasty, thus became the most densely inhabited region of the group during the period of Emperor Jiaqing and Daoguang. Also, the ethical relationship and drastic declination of their dignity and status have constituted the group’s structural attributes at this time. Correspondently, the dramatist’mentality and creation features were embodied in depressed mood and the drama of "Xie Xin", official pursues and chant common practice of society, internal tendency of gifted scholars and creation with playfulness. Under the influence of study and writing style during the period of Emperor Qianlong and Jiaqing, the drama notion also shows refinement and righteousness. Research on dramatist group in modern times in Chapter Three, by combining the social situation and scholars’ mentality in southern regions of Yangtze River during the period of Emperor Xianfeng and Tongzhi, this thesis points out that the ideological trend of practical utility was also an important constitutional notion. Through professional philanthropist Yuzhi’s typical dramatic activities, especially the educational drama’s embryo of modern significance fostered in Shu Ji Tang Jin Le, it reconfirms Yuzhi’s status and value in the history of modern drama. After Yuzhi, Changzhou’s dramatist group, who were active in Shanghai’s journalism during the period of Emperor Guangxu and Xuantong and several of who also held the membership of Zhonghui Party and Nanshe Party, had successfully finished the transformation from traditional literati to modern intellectuals. They actively promoted the era meaning of drama bearing "Tao" and injected advanced thoughts of enlightenment and reformation. This not only promoted the development of history, but also extended the scholastic culture’s positive influence on drama creation.Part Two respectively focuses on the scholar group, female group and the folk with an elegant appetite. Chapter Four targets at the scholar group, who dabbled in dramatic activities outside of the dramatist’s circle. By reviewing Liu Siguan’s drama watching and poem writing in his whole life, this thesis displays a restricted view of the scholar’s motion and spirit comfort embedded in dramatic activities. Poems written by scholars, among whom Zhao Yi, Zhao Huaiyu and Hong Liangji were the representatives, not only described the drama’s cultural ecology of Qing Dynasty in different periods, regions, spectacles and circumstances, also it has become rich and varied drama notions. By analyzing the stories and state of mind of those, who maintained an intimate relationship with actors and who are represented by Chen Weisong, Zhuang Peiyin, Zou Yigui and so on, the author made a conclusion that such culture was intertwined with both grace and vulgarity, justice and viciousness, revelry and confession. Resorting to the rising of man of letters, family troupe’s activities became a common practice and also another way of expression of scholar style. Research on female group’s acceptance towards drama in Chapter Five shows that the differences between the concepts of literature and drama held by Changzhou female and that by other southern regions of Yangtze River, lie in their conscious acceptance towards mainstream utterance influence from masculinity and their endeavor towards orthodox values. Yet female’s acceptance towards drama, considered to be boundary overstepping, serves precisely as a living example of scholar style’s influence on Changzhou’s theatrical circles. From the remains of ancient platform groups in Changzhou and Wuxi nowadays and historical relics and documents such as dramatic inscriptions, documents from historical relics areas and records of poems and essays, the general research on dramatic activities among the people in Chapter Six sketches a prosperous situation of dramatic activities among the ordinary at the beginning of Qing Dynasty in Changzhou. The thesis considers that cultural consumption did not rise in Changzhou society, which was based on small-scale peasant economy, until the beginning of the Republic of China is the reason why it is more closed compared with Shanghai and Suzhou and its old customs and rhymes were entirely better preserved. The officials and squires not only played a role in the renovation and maintenance of temples and stages, but also injected orthodox ideas into the folk. Kun Opera was still widely performed until the end of Qing Dynasty and became "Changxi Singing Play", one of the artistic origins of Wuxi Opera, thus enabling the scribble class to make an impact from top to bottom in aesthetic habits.更多还原