昆剧之“雅”与“花雅之争”另议

On elegance of Kunqu opera and dispute between standard tune and mixed tunes

主要由文人创作的昆剧,是中国戏曲中最"雅"的一种。但昆剧之"雅"主要是作品形式(文词、演唱等)文雅,作品内涵并非都属"雅正"。场上搬演的昆剧包含了昆班艺人的创造,这更为昆剧加入不少"俗"的成分。在清代,昆剧和乱弹的服务对象不尽相同,而且乱弹艺人常常努力学习昆剧,昆班(雅部)的所演所唱与乱弹班(花部)的所演所唱常常"交错",故昆剧与乱弹并非不共戴天。近数十年来学界常将清代剧坛大势归结为"花雅之争",但一个"争"字无法概括昆、乱之间的复杂关系。昆剧的衰落也需要从昆剧自身寻找原因,而不应简单归因于乱弹的强盛。

Being the most elegant Chinese opera,Kunqu opera presents its elegance in form rather than in content.Kunqu operas on stage included the creative performance of actors and actresses,which added the popular elements to Kunqu opera.In the Qing Dynasty,the standard Kunqu operas and the operas in mixed tunes had different audience,and the two kinds of performance were frequently intermingled.The research in the past decades tended to conclude the opera situation in the Qing Dynasty as the dispute between the two forms of performance.This is not suitable since the relationship between them was rather complex.The decline of Kunqu opera must have resulted from its own defects rather than from the prosperity of operas in mixed tunes.