【作者】 李慧；

【导师】 郑尚宪；

【作者基本信息】 厦门大学 ， 戏剧戏曲学， 2008， 博士

【摘要】 折子戏是中国戏曲独有的一种存在方式,它既是戏剧文学读本,又是舞台演出的脚本。它体制短小,却浓缩了戏曲表演艺术之精华,是十分纯粹的戏曲形态。本论文梳理了古代折子戏发展的历史,探讨了从全本戏到折子戏的转变过程,并以较多篇幅论述了折子戏的表演艺术成就和文学价值。在文献资料上,本文主要从古典文献如小说、笔记、日记了解明清两代折子戏演出与观赏生态;从折子戏选本中了解折子戏剧目的积累与衍变;从折子戏演出台本与身段谱中寻绎折子戏的表演神韵。在研究方法上,以传统的目录版本学与考据学方法为主。全文以折子戏历史发展为经,以折子戏表演特性与文学特性为纬,点面结合,纵横勾连,力图对折子戏做一番立体观照。论文共分以下几个部份:绪论,简要概述20世纪以来折子戏的研究情况,以及本论文的选题意义、价值和几个核心概念的界定。第一章,论述明代折子戏发展历史。通过整理和分析大量的折子戏选本与小说、日记等史料,勾勒出明代折子戏之面貌:兴起于明代正德年间;嘉靖、隆庆为其发展期;兴盛于万历年间;繁荣于天启、崇祯年间。第二章,论述清代折子戏发展历史。有清一代大量折子戏支配着舞台,折子戏演员众多、班社林立,是为折子戏演出之高峰——剧目与表演走向成熟与定型。重点考察了折子戏集大成《缀白裘》的成书与版本情况以及剧坛花部、雅部折子戏演出之实况。第三章,从全本戏到折子戏:《六十种曲》与《缀白裘》之比较。本章主要就《六十种曲》与《缀白裘》相同出目20剧172折就标目、脚色行当、唱曲、宾白与舞台提示进行细致比较。通过比较,动态地展现了从全本戏到折子戏的转变过程,而从比较中发现折子戏形成的几种方式以及“江湖十二脚色”形成的过程、吊场的特殊处理。第四章,折子戏表演艺术成就。折子戏演出促使戏曲脚色行当分工越来越精细。而行当分工精细、表演精湛的极致表现则是独特风格的形成,这些风格在师徒传习中传承,最终形成各行当之流派。流派的形成不仅让昆剧生命得以传承与延续,而且也促使部分折子戏目定型,成为家门戏或为各行当的表演艺术之典范。本章重点考察导演台本《审音鉴古录》的导演构思,并从部份表演身段谱中领悟折子戏表演艺术之神韵。附录,《缀白裘》所收花部戏研究。本附录主要对《缀白裘》所收花部折子戏进行微观研究。从这些花部戏考察戏曲从曲牌体向板腔体过渡的痕迹以及南方的昆腔、弋阳腔、昆弋腔与南下的梆子诸腔相互交流的局面,指出其在地方戏研究中的文献资料价值。结语,对全文作了简要的归纳。更多还原

【Abstract】 Zhezixi（one act play） is one unique form of performance in the Chinese Opera. It is thin and small in size,but actually melts Chinese Opera’s essence.This paper presents a study about the history of Zhezixi’s development in the Ming and Qing Dynasties,the transformation process from Quanbenxi to Zhezixi,the arts achievements of Zhezixi,and Zhezixi’s literary value.As to the literature materials, this article uses the basic materials of dramas in the Ming and Qing Dynasties,mainly to find out Zhezixi’s performance entironment in the two dynasties from the classical literatures（such as novel,note,diary,etc）;to understand the accumulation and evolvement of Zhezixi’s Chumu（scene） from Zhezixi’s anthology;to figue out Zhezixi’s performance essence from its play-script with stage directions and Shenduanpu（performance indicators of sing,speak,act,fight in the play-script）.As to the research methods,this article mainly uses traditional method in studying table of contents edition and textology.The full text,studies Zhezixi’s historical development as well as its performance characteristic and its literature characteristic,vertically and horizontally,attempts to make a three-dimensional contemplation to Zhezixi.This paper is divided into the following sections:Introduction,gives a brief overview of the research situation on Zhezixi in the academic circle since the 20^th century,as well as the research significance of this thesis,the research value of this article and limits several core concepts in the paper.The first chapter,elaborates the history of Zhezixi’s developments in the Ming Dynasty.By reorganizing and analyzing massive historical materials including Zhezixi anthology as well as novels and diaries,this chapter dearly outlines Zhezixi’s appearance in the Ming Dynasty:emerging in the Zhengde period;developing in the Jiajing,Longqing period;thriving in Wanli period;prosperous in Tianqi and Chongzhen period.The second chapter,elaborates the history of Zhezixi’s developments in the Qing Dynasty.In the Qing Dynasty,the massive Zhezixi plays dominate the stage,the Zhezixi actors and the Zhezixi troupe are standing in great numbers.This period witnessed the climax of Zhezixi’s performs,when the plays and the performance moved to be matured and shaped.This chapter stresses on the play Zhuibaiqiu, studying its formation and its various versions,and the performance of Zhezixi in Huabu and Yabu.The third chapter,from Quanbenxi to Zhezixi——gives a comparison between 60 kinds of plays and Zhuibaiqiu.This chapter gives a detailed comparison on the title, the role,the Quwen（singing parts）,the Binbai（spoken parts） and the stage prompts in the 172 scenes in the same 20 plays between 60 kinds of plays and Zhuibaiqiu.The contribution of such a comparison to research on Zhezixi,lies in that it demonstrates the development from Quanbenxi to Zhezixi in a dynamic way.Besides,from such a comparison,we can find several ways of the Zhezixi’s formation,as well as the developing process of the 12 roles in Jianghu and the special arrangement of stage, which is the innovation of this article.The fourth chapter,probes into the arts achievements of Zhezixi’s performance. Zhezixi’s performance promotes the further division of roles and relative functions in plays,which further promotes the formation of unique performance styles and various performance schools.This phenomena display especially apparent in Kunju.It can be said,that the formation of various schools not only makes the Kunju opera be inherited and developed,but also urges some of the Zhezixi plays to be shaped into the roles plays,which can be a model of the performing arts.This chapter,focus on studying the direction play-script Shenyin Jiangulu,discussing the conception of the director,and comprehend the essence of Zhezixi’s performance from some of the Shenduanpu.The fifth chapter,elaborates Zhezixi’s textual value by analyzing the Zhezixi plays in Zhuibaiqiu’s Huabu scene.This chapter mainly gives a micro-study on the Huabu Zhezixi plays in Zhuibaiqiu.From these Huabu scene,we can clearly find the transition from Qupai-style plays to Banqiang-style plays,as well as the communication among Kun-Tune,Yiyang-Tune,Kunyi-Tune in the south and Bangzi-Tune from the north.Such a study,can provide valuable documentation materials for our earlier local operas study.Conclusion,makes a brief summery to the full article.更多还原