明代折子戏研究

【作者】 尤海燕；

【导师】 张燕瑾；

【作者基本信息】 首都师范大学 ， 中国古代文学， 2009， 博士

【摘要】 明代折子戏是中国戏曲从全本戏到折子戏发展的初始阶段,是我们了解折子戏的产生、形成过程的窗口。对明代折子戏的形态、内容进行梳理、描述是对戏曲发展史的有益补充。本文第一章探讨明代折子戏产生的原因。明代折子戏的产生一方面是由于明代中后期社会生活状况的变化,另一方面是由于戏曲本身的特点。明代中后期,社会风气由简入奢,厅堂宴会以戏曲佐餐助兴,节日赛社以戏曲敬神悦神,而这些活动多有时间限制,这就为戏曲形态的变化提供了契机。中国古代长期以来的清唱传统又使摘段演出的形式易于为人接受,于是折子戏产生的外部条件在此期成熟。同时,戏曲本身大多结构松散,易于拆分,且篇幅冗长,全本演出费时费力,于是,以表演精湛见长、短小精悍的折子戏应运而生。本文第二章梳理、分析明代折子戏的整体状况。本章以明代折子戏选本为主要参考资料,结合各种笔记、小说、方志等资料中透露出来的有关信息,以时间为主轴,将明代折子戏分成明初到嘉靖时期、明万历时期、明天启崇祯时期、明代折子戏余绪期四个阶段来分别进行描述、分析,力图把握明代折子戏的发展脉络,并对各阶段折子戏的表现、特点进行探讨和总结。本文第三章探讨明代折子戏自身的发展演变。明代折子戏在主题、曲词、宾白等各方面都留下了发展演化的痕迹。选自优秀全本戏的感情充沛、贴近现实的折子戏更受人们青睐。伴随着社会文化思想、审美好尚的变化,折子戏的主题也有所变化。曲词变化不是很大,主要体现在滚调的加入和方言化两方面。宾白变化较大,是折子戏演出中改变最易也最多的方面。滚调的应用、宾白的增删都反映出明代折子戏为加强舞台效果而作出的努力。本文第四章从明代折子戏的发展看戏曲脚色、声腔等方面的变迁。本章以“明代折子戏选出”一览表为基础,通过不同角度的统计、分析,探讨明代折子戏在戏曲脚色的细分及各脚色行当特色的形成中所起到的关键作用,特别是对“花旦”、“净脚”这两个行当的作用。同时,从明代折子戏亦可见出各戏曲声腔在明代的发展变化、起降沉浮,理出明代戏曲声腔流行的大致线索。本文第五章探讨明代折子戏的影响。一方面,本章通过明代折子戏与一折戏在形式、内容上的异同的比较,表达对戏曲的舞台性和文学性的关系的思考。另一方面,明代折子戏是很多近现代地方戏的源头。明代折子戏往往要经过大幅改造才能进入地方戏,改造后的地方戏在叙事性、地方性、时代性上都与原作有了相当的距离,但明代折子戏的首创之功仍不可磨灭。结语部分对明代折子戏的地位和作用进行了总结。明代折子戏应该是中国戏曲史上重要的一笔,对它的进一步探讨无论在戏曲文学还是戏曲表演的研究领域都是必要而令人期待的。附录部分首先对明代折子戏选本作了考辨和整理,尤其是对选本的成书时间和同名异书的情况作了大量的考证和辨析,以更为客观地掌握明代折子戏研究的第一手资料。其次,附录部分对各个时期选本中的折子戏出目、剧目作了梳理,并以表格形式列出,这样,各种折子戏在不同阶段的表现即可一目了然,在研究中使用起来非常方便简捷。更多还原

【Abstract】 The opera highlights in the Ming Dynasty is the preliminary stage that we can understand the production and forming process of opera highlights. It is a beneficial supplement to chinese opera history to collate and describe the formation and content of opera highlights .The first chapter of this article discusses the causes of opera highlights’emerging. On the one hand, it is a result of the social living condition’s chang in the mid and late Ming Dynasty. On the other hand, it is because of the essential characteristic of opera. In the mid and late Ming Dynasty, opera highlights have become extravagant. People used the opera highlights to adds to the fun in the banquet. They also regard the opera highlights as a good present to pleased gods and human being in the holiday and the period of worshipping God. But most of these activities have the time limit ,which provided the turning point to the change of the drama’s shape. Meanwhile, it is easy to accept the section performance manner because China ancient singing often perform in this way during a long time. Therefore, the external condition that opera highlights formed were ripe at this period. At the same time, drama structure mostly are loose, so that it is easy to split. The drama length is too long to perform easily in short time. So, the opera highlights arised at the historic moment.The second chapter collates and analyzes all the state of opera highlights anthology in Ming Dynasty. This chapte takes the anthology of opera highlights in Ming Dynasty as the main material and the relevant information disclosed from many note, novel, local chronicle and so on as the supplementary material. In this chapter, the analysis and description to the state of opera highlights in the Ming Dynasty is divided into four stages: from the beginning of Ming Dynasty to the Jiajing time, the Wanli time, the Tianqi and Chong Zhen time and lingering time, in order to grasp the development vein of opera highlights in the Ming Dynasty and discuss and summarize the performance and characteristic of opera highlights in each stages.The third and forth chapters of this article explore the evolution of opera highlights in the Ming Dynasty and the opera development reflected from opera highlights. The opera highlights in the Ming Dynasty have left traces of evolution at the subject, the type of role, the operatic tune and the dialogue and monologue. The opera highlights with abundant enthusiasm and closing to reality selected from the outstanding drama were favorable. Accompanied by the changes of social cultural thought and aesthetic standards, the subject of opera highlights will also have changed. This chapter also summarizes the key role during the process that the type of role split up and form its characteristic especially for the Huadan and Jing by statistic and analyze the opera highlights been well received in each stages. Gundiao and the additions or deletions of the dialogue and monologue reflect the efforts to enhance the stage effects.The fifth chapter of this article discusses the influence of opera highlights in the Ming Dynasty. It expresses the thinking for the relations between the performance and literariness of chinese traditional drama through the comparison between the contents and forms of opera highlights in the Ming Dynasty and one act drama. On the other hand, the opera highlights in the Ming Dynasty is the source of many modern local opera’s. The opera highlights in the Ming Dynasty always have to go through a substantial transformation to be able to enter the local opera. The local operas transformed often differ greatly with the original opera highlights, but the opera highlights’contribution of origination is still indelible.The conclusion part summarizes the status and function of the opera highlights in the Ming Dynasty. The opera highlights in the Ming Dynasty should be an important part of Chinese opera history. It’s necessary and exciting that it is further explored.The appendix part first researches and reorganizes the anthology of opera highlights in Ming Dynasty carefully, especially make a lot of study and discrimination on the time these book published and the situation that different books have same names, in order to grasp objectively the first-hand study material Next, this part collates comprehensively the lists of drama and opera highlights in each stage and make a table for it. So that the performanc of each opera highlights at different stages can be clear at a glance. It is very convenient and simple to use to research.更多还原