戏剧音乐史建构的前提：戏剧运动的自身逻辑--《洛地文集·戏剧卷》为蓝本的“戏弄”源流辨析

Analysis of the Origin and development of Xinong in Luo Di Collected Works-Volume of Drama as Chief Source

文章以《洛地文集·戏剧卷·卷一》为蓝本,结合与"戏弄"相关文献的解读、若干教科书之相关观点的比照思考,初步辨析出中国传统戏剧的一类"戏弄"之源流:即自先秦戏弄之滥觞始,经汉戏弄之蕴而待出、北朝戏弄之明确形成、唐戏弄的成熟,至宋(金)出现了繁荣的局面。这一戏剧起源与发展的脉络当即在中国传统戏剧的另两类——"戏文"、"戏曲"——产生前中国戏剧发展的基本线索。如此不断梳理、探究出的日趋合理的戏剧运动自身逻辑,想必是戏剧音乐史建构的前提。

Based on the Luo Di Collected Works-Bolume of Drama-I as chief source, and combined with the interpretation of the related documents on Xinong, some relevant opinions in the textbooks for compared thinking, this paper initially analyzed the origin and development of and development some kind of Xinong in Chinese traditional drama： That is the Xinong from the beginning of pre-Qin period, accumulated through Han Dynasty, formed in Northern Dynasty, grown in Tang Dynasty, and it flourishing till in Song （Jin） Dynasty. This trace on the origin and development of drama is the basic developing line of Chinese drama before the oth- er two categories of the Chinese traditional drama. Xiwen （originated from a classical local opera of Wenzhou in Zhejiang Province） and Xiqti （traditional Chinese opera）. So constantly organized the ideas, explored the drama rational developing to its own logic, the author believed that have been the premise to construction of the history of drama music.