摘要
"竹竿子"在宋代宫廷乐舞、杂剧演出中具有指挥职能,地位显著,其在北宋时就传入朝鲜,历经元明清,至今在山西、河北等地民间祭祀戏剧演出中仍有留存。自王国维《宋元戏曲考》以来的一些戏曲史著作及学者,对"竹竿子"有所论述,但至今有关"竹竿子"及其相关范畴的一些重要问题还未完全明了,仍存在误解与混淆。结合域外文献、正史及近年来新发现的手抄本材料,对"竹竿子"(元明清称为戏竹)进行比较研究,可以得知:"竹竿子"在北宋时随乐舞传入高丽,但后来二者又产生了很多不同;宋以降,"竹竿子"的形制及执竹竿子者的称谓、服饰随时代不同而变异;"前行"、"前行戏竹"、"竹竿子"、"参军色"等是不同的范畴,它们有联系但又有区别,考证并首次提出"前行色"指的是"登歌者"。探讨"竹竿子"及其相关范畴,有助于解决戏曲史上的一些疑难问题。
Zhuganzi has command function in palace dance with accompaniment and Zaju perform, which spread to Korea in Song Dynast and develop in the Yuan Ming Qing period, keep on to today in drama of offering sacrifices to gods or ancestors.Some works and scholars discuss Zhuganzi since Wangguowei and his SongYuan traditional opera research,but some important problems about Zhuganzi still exist misread. Studing Zhuganzi by the comparison of documents in home and abroad,may reach that the relations and influence of China Zhuganzi and Korea Zhuganzi; the different of Zhuganzi ’s design,appellation and dress.Qianhang can be used in a broad and a narrow sense. Qianhang, Qianhangxizhu,Zhuganzi,Qianhangse and Canjunse belong to different categories. Qianhangse is Denggezhe.
出处
《清华大学学报（哲学社会科学版）》
CSSCI
北大核心
2008年第4期82-89,共8页
Journal of Tsinghua University(Philosophy and Social Sciences)
基金
山西省教育厅高校科技研究开发项目“上党傩文化与祭祀戏剧研究”(0405203)
