晚清武戏最初演进隅论——以陈金雀稿本为例

A Preliminary Discussion on the Early Evolution of Martial Opera in Late Qing Period: Taking CHEN Jinque's Draft Manuscript as an Example

  • 摘要: 裁革南府后的宫廷与民间戏曲交流以及鸦片战争后的社会变动,是道光朝武戏改观乃至晚清武戏兴盛的主要因素。道光二十年(1840)陈金雀稿本《螭虎钏》是现存唯一一种由原南府伶人在被裁革出宫之后、重召入宫之前搭入进京四大徽班演剧时编定的武戏演出本。陈金雀于当年十月至十一月按照头段、三段、二段的次序编定该剧,修订后于次年三月交付同行传抄,最终呈现的文本形态并非完全凝定的状态,且部分修订受他同期抄录的表演论著《明心鉴》影响。全剧高潮《打围救驾》经陈金雀重定曲文、工谱、串头、穿戴、关目,舞台指示趋于成熟。他专门补写的孙秀英打围剧情,塑造了骑马上、穿戴女盔女甲、持枪的刀马旦形象,有别于更早故事来源里的徒步短打形象,且与其他戏曲改编塑造孙秀英形象的方向截然相反,足以调整此前所谓道光年间武戏脚色单一、咸丰至光绪朝才出现武戏脚色细化的既有结论。稿本集中体现出这位升平署总教习的艺术追求,以及晚清武戏演进之初民间戏班的艺术探索。

     

    Abstract: The exchange between court and folk opera following the reform of the Nanfu (南府), coupled with the social changes following the Opium War, were the main factors contributing to the transformation of martial opera during the Daoguang (道光) reign and its subsequent prosperity in the late Qing era. CHEN Jinque's (陈金雀) manuscript of Chihuchuan(《螭虎钏》) from 1840 stands as the sole extant martial play script compiled by former Southern Court performers during their engagement with the four Hui troupes in Beijing, in the period between their dismissal from the palace and their later recall. CHEN structured the play in October-November of that year according to the sequence of its first, third, and second segments. After revision, he distributed it for copying among his peers in March of the following year. Its final textual form was not entirely fixed, with some revisions influenced by his contemporaneous transcription of the performance treatise Mingxinjian (《明心鉴》). The climactic scene Dawei Jiujia(《打围救驾》) underwent significant refinement by CHEN, who 'revised the lyrics, musical notation, stage transitions, costumes, and key moments,' resulting in a mature form of stage direction. He specifically added a plotline depicting SUN Xiuying's hunting expedition and, 'according to his own conception,' created the image of Daomadan (刀马旦) who 'wore a female helmet and armor,' 'grasped a spear,' and 'mounted a horse.' This portrayal diverged from the traditional martial female warrior archetype within the original narrative system and stood in stark contrast to SUN's portrayal in other opera adaptations. This evidence is sufficient to challenge the established conclusion that the refinement of martial role types in Chinese opera only reached maturity during the Xianfeng (咸丰) to Guangxu (光绪) reigns. This manuscript embodies both the artistic aspirations of the chief instructor of the Shengpingshu (升平署) and the artistic explorations undertaken by folk troupes during the nascent development of martial theatre in the late Qing period.

     

/

返回文章
返回