【作者】 杨蕾；

【导师】 张大新；

【作者基本信息】 河南大学 ， 中国古典文献学， 2013， 博士

【摘要】 色彩作为大自然与人类生活相通的意象集合，基于人类生理构造和生活环境方面的共性对色彩的感受，无论是对于单一色彩还是色彩组合，大多数人的感受存有共同的倾向，色彩这种共性的感受与共同的倾向，在约定俗成的社会认知背景下固化为一种社会观念，并形成本民族特有的色彩内涵。古代戏曲融汇传统色彩的文化语言，将其推衍为戏曲艺人与受众群体间对话的有效工具，并赋予其多重表现功能，成为我们了解民族文化内涵及戏曲演出形态的一个窗口。本文以古代戏曲舞台色彩为研究对象，上编三章内容以文献考证及文物考古等手段梳理戏曲舞台色彩演进轨迹及视觉呈现，并结合戏曲发展形态探讨色彩与演出间的内在关联。在戏曲漫长的孕育期，色彩作为视觉符号活跃在各类扮饰表演的角色造型中，并随着扮演者地位的变化及戏剧形态的演进呈现出不同的特征及选择范畴。从先秦时期巫傩仪礼的扮饰演出中所展现出对自然色彩的崇尚，到两汉乐舞百戏及俳优装扮中对五行色彩的遵守，直至隋唐戏弄歌舞戏及科白戏中角色表演中以生活常色为依据的色彩重构，戏曲演出中色彩成为人物造型及扮饰表演中不可或缺的组成部分。宋元演剧过程中，脚色行当制的初建不仅奠定了中国古典戏曲独立的戏剧品格与演出形态，成为古代戏曲成熟的标志；而且为诸多泛戏剧形态走向成熟戏曲提供了借鉴效法的路径及方式，成为传统戏曲舞台组织及色彩扮饰的核心内涵。人物装扮不再以巫觋倡优的“演员”角度来进行色彩选择，而是转向以“脚色”的分工来进行参演人员的色彩扮饰。宋金杂剧不仅突破了以“演员”身份为依据的五色正间及附加的尊卑意识范畴，实现了正间色彩的杂糅与汇通；南戏演出以“穿插诸伎”及“角色串扮”的搬演风格，在色彩选择上通过对民间风俗及视觉习惯的深层融汇来展现脚色特征及戏剧冲突，形成具有浓重民间意味、观演之间互相认同的色彩传达符号，使得观众和演员之间建立起无障碍的交流渠道，极大强化了戏曲演出中受众群体的地位及观演互动的良性循环。元代杂剧不仅形成一本四折的文本范式、曲牌联套的音乐体制，而且逐步确立相应的舞台表演程序及人物扮饰与色彩选择的相关规范。戏曲表演最终回归到以“舞台”为中心的视听感受及故事叙述上来。色彩运用及造型设计与舞台布景的贯穿融汇，不仅构成独立于世俗生活之外的虚拟时空，而且以视觉符号组建新型的舞台秩序与时空关系，形成符合民族审美习惯、适应虚拟时空、相对独立的戏曲舞台色彩体系。明清戏曲舞台演出形制的成熟，不仅使得观演习惯由欣赏剧本的故事情节转移到了赏玩舞台的表演技艺，而且将色彩从以“脚色”个体扮饰及人物造型的塑造转向“舞台”整体视觉秩序及审美风格的建构上，将戏曲色彩扮饰所营造的视觉形式超脱于剧目内容及道德评价之上，进行相对独立的韵味赏玩与美感体验。明清宫廷演剧以精巧华丽的视觉秩序重建着舞台上虚拟时空、转变着杂剧演出的舞美风格，将视觉上的美感体验及层次序列推向受众群体，形成具有强烈唯美主义的舞台着色倾向。四大声腔的勃兴在演出舞台上开创了以南曲为主的传奇时代，无论是厅台楼阁中精雅细腻的昆山雅调还是庙社草台上粗犷火爆的弋阳诸腔，在不同的唱腔风格、表演形制以及受众群体的影响下在舞台上呈现出相对独立的着色原则与搭配依据，不仅给风格迥异的腔调剧种带来了营造舞台秩序的组织法则，而且为戏曲舞台色彩程式的定型奠定了坚实的基础。清代宫廷大戏则以明清传奇舞台演出为基础，吸纳融汇不同声腔剧种间的着色原则，适合大场景及复杂剧情铺垫的内廷演剧需要，并在人物扮饰及景物造型上形成舞台色彩的妆扮规范与法则，使得戏曲舞台以特定的色彩程式来营构视觉秩序与时空场景。无论是泛戏剧形态下以“演”为中心的个人扮饰，还是宋元演剧中以“脚色”为核心的人物装扮，乃至明清戏曲演出中以“舞台”为依据的视觉呈现，色彩演进伴随着戏曲本体的发展成熟经历了由简到繁、从无序到有序、由写实到写意、从客观模仿到主观重组，成为戏曲舞台视觉秩序营造的重要手段。同时，色彩选择也无可回避地受制于戏曲本体之外的社会文化环境影响，展示出强烈的舞台表现功能、庞杂的民俗约定成份、厚重的社会文化内涵以及深厚的古典美学意蕴。下编四章内容分别从表演学、民俗学、文化学及美学视角进行分层解析，试图阐释古代戏曲色彩演进的介入因素与生态环境。从表演学上看戏曲色彩具有情感性、饰美性、符号性的舞台功能及表现特征，通过这些功能特征获取舞台视觉上的观演互动与心理认同，并营造出美仑美奂的写意幻景及井然有序的符号体系。从民俗意义上看无论是驱鬼逐疫还是迎神祭祖，色彩作为原始信仰的符号构成不仅隐喻着观演之间对神灵先祖的敬畏与礼赞，而且饱含着从自然现实世界到舞台虚幻之境的情感体验及心灵宣泄。从乐天悯人的色彩狂欢到趋吉避祸的色彩文饰，色彩以岁令时节的民间习俗调节着舞台上的表演情绪及视觉感应。由民族传统的色彩崇拜到地域风尚的色彩选择，不同民族及地域间的色彩习惯不仅使得戏曲在人物扮饰中呈现出绚烂多彩的舞台效果，而且成为不同剧种间最具别异特征的标识符号。从文化视角上看戏曲色彩以阴阳五行的哲学观及天人合一的思维方式来建构舞台秩序；以“绘事后素”、以色明礼的儒家色彩观及“知白守黑”、“以色证道”的道家色彩理论来营造色彩意象；以忠奸善恶的色彩象征及谱系秩序的色彩比附来关联色彩的道德评判。同时，将自然宇宙与人类社会之间的色彩符号投射到戏曲舞台的着色规范上来，形成与五色三统相匹配和正间色彩相对应的视觉秩序。从美学角度上看戏曲色彩存在着“意”与“象”、“简”与“繁”、“雅”与“俗”之间的表现与转换，无论是“离形得似”与“随类赋彩”的色彩营造，还是“单纯的张力”与“繁缛的夸饰”之间的色彩传达，乃至是“雅而能俗”及“俗而化雅”的色彩认同，戏曲色彩以古典美学为统摄组织着舞台视觉的美感呈现及着色依据。戏曲作为以“演”为核心的人物扮饰活动，舞台色彩不仅凝聚着戏曲各种形态下的视觉形式与观演习惯，同时也折射出不同文化环境中的色彩传统与民间禁忌。更多还原

【Abstract】 Based on the physiological structure and the life environment, human and nature get the same way toexpress themselves through colors. No matter a single color or a group of colors, they can convey us thesame feelings and same spiritual tendency, which have become the social concept even the national colorconnotations under the conventional social cognition background. The traditional Chinese opera with thecultural color language in it has been regarded as a useful communication instrument between the operaactors and the audience, because it has multiple expressive functions that we can learn much about ournational culture and opera performance forms.This thesis takes the opera stage color as the object of study. By virtue of literature researches andarchaeological methods，the three chapters mentioned above sort out the track of Chinese opera-stage coloras well as the visual presentation；besides, they also discuss the internal relation between color andperformance by taking the developmental pattern of Chinese opera into consideration. During the longopera development process, colors, the visual signs, are used by all kinds of opera actors frequently, andwith the opera role-changing and opera form-changing, colors show the a wide choice scope for us. InPre-Qin period, people at that time through Wunuo etiquette performance showed their worship to thenatural colors; in Han dynasty the comedians respect the colors of the five elements; in Sui-Tang period thesinging and dancing performance in opera chose the colors by re-structing them. Colors have become animportant part in performance make-up and dressing for the actors.Operas in Song and Yuan dynasties focus on the shoes-color-division system, which determined thequality and performance form of Chinese traditional operas, and it is also the symbol of a developed opera.Meantime the color-division system affords some useful methods to help most operas developing in highlevel and becoming the core of traditional opera stage color ornament. People would never judge acharacter by the color they dress but shoes they wear.The Miscellaneous plays in Song-Jin dynasty not only make a break through in the superiors andinferiors sense which are the main trend of actor status dressing based on the five elements’ colors but also in the integration of the five elements’ colors. On choosing color, Southern Miscellaneous plays, withan acting style of interwoven performance together and interchanged roles, can reveal roles’characteristics and dramatic conflicts by deep integration of folk customs and visual tendency and habits,thus leading to the formation of symbolic color with a strong folk flavor and concept of mutualrecognition between actors and inspectors, as well as building up the accessible communication andstrengthening the position of the inspectors in the theater and gaining conducive development of the part’sinteraction.Not only did the Yuan Miscellaneous plays form into a kind of text paradigm characterized with fourparts and a musical system featuring in the combination of Qu and Pai, it also gradually established thecorresponding stage performance procedures as well as the relevant rules on the make-up of character andchoice of color. The traditional opera performance finally came back to the audio visual feelings which putstage in the center place and the narration of story. The application of color and the design of styleintegrated with stage settings. This not only created a virtual space independent from the worldly life, butalso formed a newly relation between stage order and time-space through visual symbols. Hence, itproduced a relatively independent system about opera stage color which accords with national aesthetichabits and adapts to the virtual space.The maturity of the stage performance forms in Ming and Qing opera diverts people’s attention fromthe storyline to the performance skills, but also shifts decorative colors function from the individualcharacterization, the costume and makeup to the overall visual arrangement and the construction ofaesthetic style, and to the detachment of the visual forms from the story and its moral evaluation to securerelatively independent appreciation and aesthetic perception. With exquisite and gorgeous visualarrangement, Ming and Qing royal court opera extends the visual beauty and arrangement to inspectorsthrough recreation of the virtual world as well as the change of choreography style in the miscellaneousplay, all these above mentioned forming a tendency of stage coloring in strong aestheticism. The flourish ofthe four famous opera tune patterns initiate a legendary era centering on southern tunes, either the elegantand refined Kunshan opera in pavilion or the rough and roaring Yiyang one; when varying from singing,performing, and the audience, the four have distinctive and distinct coloring principles and collocation, thus instilling themselves separately with organization rules to create a stage order, at the same time layingconcrete and solid foundation for the finalization of the stage color design. On the basis of stageperformance of Ming and Qing legendry, Qing royal court opera integrates the coloring principles fromvarious tune operas in order to meet the performance of large scenes and complex plots foreshadowing. Inthe meantime, it manages, with featured color patterns, to create visual order, scenes of time and space byforming the norms and rules of stage coloring for characters’ costumes and makeup.From the personal "acting" as the core in early operas, then to the "character" oriented, and even the"stage"-based visual display, with the development of the opera itself, color evolves from simple tocomplex, at random to in order, realistic to impressionistic, objective imitation to subjunctiverearrangement, which becomes the main technique of the visual order creation. At the same time, apart forthe opera, the color choosing is inevitably subject to social and cultural environment, indicating stageperformance function, assorted folk conventions, profound culture and implications of classical aesthetics.Book II, made up of four chapters, attempts to expound the intervening factors and ecologicalenvironment in the evolution of ancient opera color from the perspective of performance studies, folklore,culturology, aesthetics respectively. In performance studies, opera color is of affective, beautifying,symbolic function and features, by which there come performance interaction and psychological empathyfrom the responsive audience, thus creating freehand and fantastic scenes and orderly symbols system.From the aspect of folklore, either exorcism or ancestor worship, color, as a symbol of the primitive beliefs,alludes to reverence and praise to ancestors, but also is fraught with real-to-imaginary emotional experienceand catharsis. Ranging from the sanguine compassionate ‘color carnival’ to self-protect color as‘camouflage’, color based on the seasonal folk customs regulates characters’ performing emotion andaudience’s visual reaction. The color worship of national tradition, the color selection of various regions,the usual practice of coloring, present audience with splendid stage effects and also becomes the veryhallmarks of different operas. From the cultural perspective, opera color constructs the stage order inaccordance with the theory of Yin-yang and the Five Elements, creating color imagery by the Confucianismcolor concept, that is, to paint comes after the plain and white; and by abiding to the Taoism color theory ofstaying obscure wisely and also the good and evil in the color symbolism and the hierarchical order within to connect the moral evaluation, then forming the visual order matching the Five Colors. An aesthetic pointof view is that in opera color there exists performance and conversion between "means" and "imagery","simple" and "complex "," refined " and "rustic ". No matter in color creating like "formless similarity"and "coloring according to the kinds", in color conveying from "simple" to "overlaboured", even in colorrecognizing from the "refined" to "rustic", the opera color establishes in line with classical aesthetics thebeauty of the stage. With the core of ‘acting’, the opera color on the stage embodies the visual forms andperformance-and-appreciation habits of all kinds as well as reflects the color tradition and folk taboos indifferent cultural environments.更多还原