滚调、板腔体与戏曲的自我救赎——“中国古代戏曲传播史”系列研究之三

Gun tune, banqiang style and self-salvation of traditional Chinese opera——A serial study on the dissemination history of the ancient Chinese opera (5)

【滚遍】与【滚】(滚调)并不等同。如果说,明代戏曲声腔中的【衮遍】、【终衮】、【初衮】、【煞衮】等曲调,不同程度地受到唐宋大曲中【衮遍】的影响,而逐渐形成自己的格范,那么余姚腔、弋阳腔以及青阳腔中的【滚】(滚调)早已逸出唐宋大曲的规束,发生了脱胎换骨式的蜕变,发展为另外一种新的演唱形式。我们认为,【滚调】的用途与价值,大致有这样几个方面诠释曲文,化雅为俗;丰富唱法,增强意趣;成句入曲,悦人耳目;强化情感表达,突出心理剖白;羼入叙事成分,补足情节罅漏。【滚】所表现出的去精英化,还原了戏曲被遮蔽的世俗本真,回归了一度被覆盖的民间传统,以探索的形式再现了艺术拥抱大众后活泼泼的生命张力,对消融阻碍戏曲传播的意识壁垒与僵化机制起到积极作用。

Different from gunbian tune, gun (gun tune) developed into an entirely new form of performance and singing in the Tang and Song Dynasties. Gun tune has its application and value as follows: annotating the text of qu and changing elegancy into common; enriching the methods of performing and increasing the interest; strengthening feeling expressing and making the inner world prominent; inserting narration and filling the plots. The ridding of the elegancy presented in gun tune restored the covered profane nature and folk tradition to the original state, reproduced the vitality when art combined with the masses, thus playing a positive role in eliminating the consciousness barrier and rigid system that blocked the dissemination.