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明代弋阳诸腔与民间文化

Yi Yang Tune-patterns in Ming Dynasty and Folk Culture

【作者】毛忠 【导师】刘祯

【作者基本信息】中国艺术研究院，戏剧戏曲学，2007年，博士


【摘要 (中文/英文)】 从本质上说，戏曲形成于民间。随着文人加入到戏曲的创作与演出中，其发展随之呈现出文人与民间两条线索。而明代弋阳诸腔作为民间戏曲发展过程中的主要一环，上承宋元南戏，下启清代“花部”各地方戏，对于我们认识戏曲的本质与发展规律具有重要的价值。 本文试图以文人戏曲的发展及其特征为参照，对弋阳诸腔的形成和流播，艺术特征及其在中国戏曲史中的地位与价值作出自己的理解与探讨。论者认为学界所通行的“弋阳腔系”的概念出现是对明代文人文献记载的一种误解。对民间戏曲的鄙视态度正是他们将明代中后叶出现的南戏声腔归入弋阳腔一脉的主要原因。实际上，这些南戏声腔虽然可能受到了广泛流播的弋阳腔的影响，但在音乐特质上仍然存在本质的差异。但是在民间戏曲的层面来说，这些南戏声腔又具有共同的文化属性与艺术特质，因而论者将其统称为“弋阳诸腔”。关于弋阳诸腔的形成与流播，论者从宋元南曲戏文戏与北曲杂剧、明代前中期北曲杂剧与南戏四大声腔、明代中后期昆山腔与南戏后起诸腔三个阶段，以文人戏曲与民间戏曲相对发展的面貌，呈现出弋阳诸腔在民间戏曲发展线索中形成的过程。同时以文人戏曲流播为参照，论者认为弋阳诸腔流播具有开放性与变异性的特征，其广泛流播的原因除了民间戏曲声腔自身的特征外，与明代移民政策、商人的活动、节令民俗都有着密切的关系。而弋阳诸腔所具有的种种艺术特征，正体现出其以“戏”为本体的审美追求。这种审美追求使得弋阳诸腔在戏曲观念中并不排斥“雅”的艺术形式，而在民间演剧过程中，文人戏曲与民间戏曲在一定程度上实现了“雅”“俗”文化的融合，为清代花部的崛起作了深厚的艺术准备。随着民俗学、宗教学、文化人类学等学科对戏曲研究领域的渗透，学界的戏曲观念逐渐发生了转移，民间戏曲也愈来愈频繁的出现在众多学者的学术视野之中。在这些学术背景下，弋阳诸腔在戏曲史中的地位与价值也愈发突显。具体而言，对于戏曲的发展与变革，弋阳诸腔正是其中的主体力量与主要因素。而以戏曲史的角度来看，弋阳诸腔也处于明代戏曲创作、演出与欣赏的主体地位。对于弋阳诸腔的研究，如果超越艺术本体的范畴，从其与民俗、宗教等民间文化相互融合的层面加以考察，不仅能使戏曲史更为丰富与生动，也将极大的拓展戏曲研究的领域。

Fundamentally, drama comes from nongovernmental circles. As the literati joining into the creation and the performance of the drama, the development of drama takes on two threads: one is about literator's style; the other is about the folk style. Yi yang tune-patterns in Ming Dynasty is a major part during the process of the folk drama's development, following Nan Xi in Song and Yuan and opening the next period of all kinds of local dramas of "Hua Bu " in Qing Dynasty. That's of great value for us to recognize the essence and the rules of its development. According to the development and its characters of literati drama, this paper tries to turn up personal comprehending and discussion iowards the formation and the coming down of Ye yang tune-patterns, and also its art characters, the status and the values in the history of China drama. The author holds his opinion that the turning up of the notion of Yi yang tune-patterns' system is a misunderstanding towards the literature's recordation in Ming. The main reason why they made Nan Xi Sheng Qiang belong to Ye yang tune-patterns is the despising attitude towards folk dramas. In fact, Nan Xi Sheng Qiang is somewhat affected by widely-submitted Ye yang tune-patterns, but there is still substantial discrepancy on music idiosyncrasy between them. In the view of folk drama, Nan Xi Sheng Qiang has common cultural character and substantial discrepancy, so it is called Yi yang tune-patterns. Experiencing the three periods as following: the period of the drama of Nan Qu Xi Wen in Song and Yuan. Comparing the respective development of literati drama and folk drama, we can find the information of Yi yang tune-patterns during the process of the folk drama's development. At the same time, consulting the transmitting of literati drama, its development presents the characters of opening and variance. Except the its own peculiarity, the migration policy in Ming, the activities of businessmen and the customs are all the factors causing the widely transmitting of the Yi yang tune-patterns. All the art characters of Yi yang tune-patterns embodies the pursuing which takes drama as the noumenon. The pursuing makes the Yi yang tune-patterns not exclude the art form of elegance. In fact, in the performance of folk drama, the literati drama and the folk drama come to a combination of elegance art and vulgar art in some extent. And this helps the growing up of "Hua Bu " in Qing dynasty. With the infiltration of the folklore, religion and anthropology towards the area of drama study, the conception of drama academia changes. Folk drama turns up more and more in the views of the scholars. In such learning background, Yi yang tune-patterns plays more and more important role in the history of drama. In detail, Yi yang tune-patterns is the principal part and major factor in the development and revolution of drama. In the point of view in the history of drama, Yi yang tune-patterns is still the principal part in drama creation, performance and appreciation in Ming. Surpassing the category of art noumenon, we can combine the folklore and the religion with the study of Yi yang tune-patterns. It will help the drama history more abundant and vivid, and also enlarge the area of drama study.

【关键词 (中文/英文)】 弋阳诸腔; 文人戏曲; 民间戏曲; 戏曲史 Yi yang tune-patterns; literati drama; folk drama; history of drama

【发表年期】2007年06期 【网络出版投稿人】中国艺术研究院 【DOI】CNKI:CDMD:1.2007.143083