文物物语——论宋代戏曲文物与宋代演出

【作者】 沈倩；

【导师】 刘元声；

【作者基本信息】 上海戏剧学院 ， 戏剧戏曲学， 2009， 博士

【摘要】 刘念兹先生在上世纪五十年代提出了“戏曲文物学”的概念,本文亦遵循“论从史出”为舞台美术史研究的重要准则之一,并以此来探讨分析宋代戏曲文物和宋代演出的关系。由于戏曲与人们的生活有着紧密的联系,又由于戏曲演出具有形象性和舞台性的双重特点,因而古典戏曲演出的痕迹被广泛保留在各种形式的文物遗存中,成为了我国古代文化艺术殿堂中一批数量可观的文物珍品。戏曲活动总是和民间的信仰和民俗活动结合在一起,戏曲文物也大多体现为这些活动的物化形式,其类别多种多样,具体的载体包括:绘画、壁画、画像砖、画像石、木雕、石雕、砖雕、版刻、年画、泥塑、陶器、瓷器、剪纸、织绣以及古代戏台建筑等。这些戏曲文物珍品是中国戏曲演绎兴盛发展的实物记录。本文的研究对象是宋代戏曲文物。自公元960年赵匡胤建立宋朝开始,至公元1279年南宋灭亡,这三百余年的朝代在中国历史上承前启后、继往开来,中华社会在各个方面都发生了重大的变革,并对后世产生了极其深远的影响。陈寅恪先生认为“华夏民族之文化,历数千载之演进,造极于赵宋之世。”近人严复也说过:“若研究人心政俗之变,则赵宋一代历史,最宜究心。中国所以成为今日现象者,为善为恶,故不具论,而为宋人之所造就,什八九可断言也。”中国戏曲发展到宋朝,完全由“史前状态”进入到了一个崭新的发展阶段:勾栏瓦舍的出现与民间曲艺的繁兴,使戏曲实现了对说唱、歌舞和扮演故事等多种艺术手段的综合。与此同时,戏曲文物亦开始成批出现。这些戏曲文物的诞生,毫无疑问有其产生的社会历史和文化条件,反之,这些戏曲文物保存到今天,我们也能将它们看作当时民间风俗的物化反应。本文将以宋代戏曲活动的文化遗存为研究对象,以文物表现的内容为切入点,将文物、文献、民俗三种资料结合起来讨论中国戏曲前期发展规律。本文由引言、上篇、中篇、下篇和结语组成。一.引言部分。简单阐述了戏曲文物的定义以及宋代对于中国戏曲发展的重要性。二.上篇:《宋代戏曲文物概述》。该篇共分三个部分。第一部分为:《宋代戏曲文物》。在此列举了笔者整理到的宋代戏曲文物的名称、出处、特征等,并配有照片图像。包括北宋期间文物26件;南宋期间文物13件。其中很大一部分图像均为笔者到现场考察后拍摄的第一手资料,由于年代久远,留存至今的宋代戏曲文物十分有限,通过这样的盘点,读者基本可以对宋代戏曲文物有个大致的了解。第二部分为:《宋代戏曲文物产生背景》。此处归纳论证了宋代戏曲文物产生的各种历史文化背景,包括:1、“兴文教、抑武事”;2、经济发达,人口众多;3、街市繁荣;4、市民阶层出现;5、文化生活普及;6、戏曲的发展。第三部分为:《宋代戏曲文物分布》。笔者将搜集到的文物进行归纳总结,整理出两宋戏曲文物的时间分布和地域分布。三.中篇:《宋代戏曲文物分类》。本篇将各种戏曲文物进行分门别类,并挑出其中有重要意义的几项戏曲文物进行详细考证。今天发现的宋元戏曲文物的存在形式有着多种形态,笔者将现发现的宋代戏曲文物分为七大类:1.碑刻。附:《河中府万泉县新建后土圣母庙记》碑考;《潞州潞城县三池东圣母仙乡之碑》考。2.砖雕。附:偃师出土“丁都赛”砖雕考;偃师酒流沟墓杂剧砖雕考、“温县东南王村宋杂剧砖雕”、“温县东南王村宋散乐砖雕”考;“河南博物馆藏北宋杂剧砖雕”考。3.石刻。附:“河南荥阳朱三翁石棺杂剧石刻”考;“广元市零七二医院宋墓杂剧石刻”考。4.壁画。附:“白沙宋墓壁画”考。5.戏俑。附“鄱阳南宋洪子成墓戏文磁俑”考。6.绘画。附:《骷髅幻戏图》考;“宋杂剧绢画”考。7.器物。附:河南济源宋代“听琴图三彩枕”和“婴戏图三彩枕”考;“傀儡戏铜镜”考。四.下篇:《戏曲文物与宋代演出》。主要从各类戏曲文物中分析论证宋代演出的状况。包括:概述、戏班、观众、演出场地、演员、角色行当、服饰装扮、砌末、乐器九个方面。戏曲文物可以修正我们对戏曲发展史的认识、弥补文献的不足。目前出土的宋代戏曲文物不仅给我们提供了当时盛行的乐舞、说唱、傀儡戏、社火、杂剧等表演的生动场景,众多杂剧演出场景中的脚色形象还使我们能结合文字的记载,直观地了解当时戏剧演出的脚色体制与扮演形态。本文从以上四个章节的分析,力图通过对戏曲文物的研究与印证,尽可能复原戏曲舞台艺术在宋代的演剧形态。更多还原

【Abstract】 Mr. Liu Nianzi put forward an idea of“Studies on the historical remains of Chinese theatre”in 1950’s. In my opinion, it is important to get some conclusion from history rather than from imagination when studying Chinese traditional opera.Chinese traditional opera is an old-age art with long history. It is always played with folk religion and folk-customs. We may find various kinds of historical remains of Chinese theatre including painting, fresco, brick sculpture, stone sculpture, carving, year picture, mire mold, pottery, China, paper-cut, stitch work and ancient stage, etc.The object of my paper is Song Dynasty’s historical remains of Chinese theatre. I chose this object firstly because of the charm of Song Dynasty. Song Dynasty was set up by Zhao Kuangying in 960 A.D. and ruined in 1279 A.D. Chinese society experienced a lot of fatal transform in every aspect of social life during this 300 years. Song Dynasty is an important stage linking between the past and the future for the development of Chinese society. She influenced the following dynasties deeply in all aspects.Historiographer Chen Yinque said that Chinese national culture reached the peak of perfection in Song Dynasty after thousands years’development. Mr. Yan Fu also agreed that better or worse, China becomes today’s China mostly due to the Sony Dynasty. And Song Dynasty means important to us if we want to study the development of Chinese people’s politics and customs.The history of Chinese traditional opera was kept down widely in all kinds of cultural relic because Chinese traditional opera is visual and relating closely with people’s life. These cultural relic became rare historical remains of Chinese theatre. They are hypostatic record for the prosperous developing of Chinese traditional opera.Chinese traditional opera developed into a new seedtime from“prehistoric state”in Song Dynasty. The appearance of Goulan Washe together with the thriving and prosperous of folk art made Chinese traditional opera become a compositive art of story-telling, singing, dancing and role-playing. Meanwhile, the historical remains of Chinese theatre began to appear in bulk. The appearance of these historical remains of Chinese theatre has a background of social history and culture developing without question. Contrarily, we can treat them as the mirror of folk custom in that time.Through a comprehensive analysis of the historical remains of Chinese theatre, this paper tries to tap and sort out this precious historical document; attempts to restore the specific style of divertimento performance in history in Song Dynasty; and gives a relatively clear comprehensive knowledge of the divertimento of Song Dynasty, which has a significant position in the history of Chinese drama. This paper has five parts as Introduction, PartⅠ, PartⅡ, PartⅢand End.The part of Introduction expatiates the definition of the historical remains of Chinese theatre and how important Song Dynasty means to the development of Chinese traditional opera.PartⅠis“Summarize of Song Dynasty’s the historical remains of Chinese theatre”. It can be divided into three different parts. The first one is“List of Song Dynasty’s the historical remains of Chinese theatre”, which enumerates the name, derivation and character of every cultural relic. Each one has a picture. There are 26 pieces of cultural relics of the Northern Song Dynasty and 13 pieces of the Southern Song Dynasty. Most of them are first-hand information gathered in the scene. The number of Song Dynasty’s the historical remains of Chinese theatre is limited because of the long time. Readers may get a general idea of Song Dynasty’s the historical remains of Chinese theatre from this part.The second part names“The Background of Song Dynasty’s the historical remains of Chinese theatre”. The background includes: (1) Value culture and education, dam up fight (2) great population with developed economy (3) flourishing trade (4) emerging of the citizen level (5) popular of cultural life (6) the forms of burial (7) the development of drama.The third part is“distributing of Song Dynasty’s the historical remains of Chinese theatre”. Coordinate the distributing of time and place by concluding and summering every cultural relic.PartⅡ“Song Dynasty’s the historical remains of Chinese theatre”puts them into categories and investigates some pieces of cultural relics in detail. The Song Dynasty’s the historical remains of Chinese theatre we have found today belong to eight different species.1, Inscription2, Brick Sculpture3, Stone Sculpture4, Fresco5, Tomb Figure6, Painting7, ArtifactPartⅢtries to tap and sort out this precious historical document; attempts to restore the specific style of divertimento performance in history in Song Dynasty. Including summarize, play team, spectator, perform field, actor and actress, role and profession, finery and make up, property and musical instrument.The historical remains of Chinese theatre may provide us a correct cognition of the history of Traditional Chinese Opera. The historical remains of Chinese theatre of the Song Dynasty we have discovered provide us a vivid image of music and dance, storytelling, puppet show, She Huo, Song drama and so on. In addition, the images of different role and character may help us know the performance of Song drama well.更多还原