【作者】 齐静；

【导师】 俞为民；

【作者基本信息】 南京大学 ， 戏剧戏曲学， 2011， 博士

【摘要】 会馆是同乡组织发展到一定阶段的产物,它在明初开始出现,并盛行于明清两代。它以为同乡服务为宗旨,以固定的建筑物为标志和活动场所,乡土情结和异域而建是其最基本的特征。在相当长的一段时期,会馆成为戏曲演出的一个重要场所,这是会馆自身的特点和时代背景相互作用共同促成的：会馆为凝聚会众,敦睦乡谊,满足同乡观剧的需求,一般会有较完备的演剧设施,适合团体宴乐演剧；而外部环境如戏禁政策也把大量的观众特别是官绅阶层的观众推向了会馆。由于会馆连接着故乡与他乡两级,会馆演剧既有对家乡文化张扬的一面,也有建立和处理与外界各种关系的一面,因此会馆演剧有自己的鲜明特征,这些特征使得会馆演剧与其他场所的演剧区别开来。会馆对家乡戏的需要、帮助和扶持,为各地戏曲进入异地提供了便捷的通道,并有效地保证其能长期演出；会馆演剧对当地的丌放,影响到当地民众的戏曲欣赏习惯,为家乡戏曲培养了一批新的观众群,使家乡戏曲可以在外地扎下根来；会馆自己的特定观剧群体,对演剧提出了较高的要求,使会馆演剧一直保持在当时剧坛演剧的较高水平。会馆演剧的这些特征,加快了戏曲的传播速度,对声腔的传播和剧种的形成及地方剧坛都产生了深刻的影响。文章以“会馆演剧与弋阳腔的发展与传播、会馆演剧与川剧的形成、会馆演剧对北京剧坛的影响”为个案研究,对会馆演剧的作用进行论证说明：弋阳腔之所以能走出江西,奔向全国,并能扎根生长,与走出去的江西人及其所建的江西会馆是分不丌的。江西会馆成为弋阳腔在外地最初演出的重要阵地,正是因为有了这个阵地,促使家乡的戏班源源不断地向外迈出了脚步,也正是有了这个阵地,异乡的观众才了解并接受了弋阳腔。弋阳腔的遍地生根、发芽、成长与江西会馆这个稳定的舞台有着莫大的关系。会馆演剧对川剧的形成和传播所起到的巨大作用不容忽视和抹杀。可以说若没有这么多移民会馆,就不会有这么多的外地声腔纷至沓来,即使有外地声腔来到四川,若没有会馆提供稳定的场所和经常的演剧机会,这些声腔或许只是匆匆过客,更谈不上落地生根,发展壮大。随着移民入川规模的不断扩大,各地戏曲文化随之源源不断进入,它们相互竞争也相互融合,为川剧的形成做好了充分的准备,在川剧形成之后会馆又成为传播川剧的重要演出场所。乾隆以来,花部乱弹和雅部昆曲长期博弈,使北京剧坛发生了根本的转变,梆子、皮黄等乱弹腔相继成为北京剧坛的盛行声腔,昆曲在北京剧坛渐次退场。由于文人不屑参与乱弹戏的创作,戏曲艺人成为戏曲创作的主体,淫靡的表演之风和单一贫弱的思想内容成为剧坛痼疾。会馆演剧以对昆曲的留存与延续,对皮簧梆子的推波助澜,对淫靡表演风气的净化、戏剧品格的提高,而对北京剧坛产生了较为深远的影响。更多还原

【Abstract】 Guildhall is a kind of townsman organization established away from hometown, which began to appear in early Ming Dynasty and became popular in the Ming and Qing Dynasties. The purpose of Guildhall is to serve townsmen and to provide them activity space. Guildhall took the fixed building as the symbol, of which the most basic characteristics is hometown complex and allopatry establishment. For quite a long period, Guildhall had been an important position for drama performance, because of the mutual interaction between Guildhall characteristics and era background:to condense members, to promote hometown feeling, to meet townsman watching drama, Guildhall general possessed better dramatics facilities, which is suitable for group conviviality dramatics; While the external environment, such as the forbidden policy about dramatics, push large audiences to Guildhall, especially gentries class. As Guildhall joint the two poles of birthplace and exile, Guildhall dramatics propagated hometown culture, but also play important role in establishing and processing external kinds of relationships. Therefore, Guildhall dramatics has its own distinctive features, which distinguishes Guildhall dramatics from other position dramatics.Guildhall needed, help and gave support to hometown drama, and provided the convenient channel for different hometown drama being allopatrically propagated, and effectively ensured the long-term performance. The opening of Guildhall dramatics to local people affected their appreciation habit, and cultivated batch after batch new hometown drama audiences, which made hometown drama take root away from hometown. In addition, these particular audiences further put forward higher requirement, which made Guildhall dramatics remain higher level in the dramatic world at that time. These characteristics of Guildhall dramatics accelerated the dramas propagation, exert profound impact on the tune spreading, on the type of drama formation, and the local dramatic world. The dissertation expounds and proves Guildhall dramatics, by taking "Guildhall dramatics and the development and spreading of Yi yang tune, Guildhall dramatics and the formation of Sichuan Opera, the influence of Guildhall dramatics on Beijing dramatic world" as case study.When discussing the reason that Yi yang tune could go out Jiangxi, rush toward the whole country, and might take root to grow, it must be mentioned JiangXi person and their Guildhall. JiangXi Guildhall is the important position where Yi yang tune is initially performed away from hometown. By these positions, hometown troupe continuously took outward steps. It is also by the position that allopatry audiences just know, understand, and accept Yi yang tune. During Yi yang tune rooting, germinating, growing throughout, JiangXi Guildhall, this stable stage, played the remarkable role.The great role, which Guildhall dramatics played on the formation and propagation of SiChuan opera, should not be ignored and obliterated. We can say that, without so much immigration Guildhall, it is impossible for so much allopatry tune come in a continuous stream. And even if there is several kind of allopatry tunes arrived in SiChuan, no Guildhall provided the stable sites and the regular occasions for dramatics, those tunes might be just passer-by in haste, let alone taking root, developing and expanding. In the train of immigrants scale increasing, different kinds of drama culture continuously flowed into SiChuan. These culture not only competed mutually, but also merged mutually, which made adequate preparation for the formation of SiChuan Opera. Following that, Guildhall in return became the important position for SiChuan Opera propagating.Since Emperor Qianlong Period, the long-term game between Huabu Luan and Yabu Kunqu made the fundamental change in the Beijing dramatic world. That is, some Luan tunes, such as Bangzi and PiHuang, successively become the prevalence tune in the Beijing dramatic world, while Kunqu gradually exited. Literati disdained to create Luan, as a result, theatrical actors became drama creative subjects, obscene climate and anaemic content become the stubborn illness of the dramatic world. Guildhall dramatics produced a profound influence on Beijing dramatic world, by retaining and continuing Kunqu, encouraging and supporting Bangzi and PiHuang, purifying obscenely performance climate, improving the drama style.更多还原