宋杂剧的搬演及其艺术生态论略

On Zaju of Song Dynasty: Its Stagement and Art Existence

在宋代,一般来说,雅乐才能"荐之郊庙,施于朝廷"。杂剧的搬演,往往见于春秋圣节三大宴,目的是借杂剧演出以活跃场上气氛。值得注意的是,这种表演格局,还保留在迎神赛社的民俗活动中。戏曲的成熟与催生,有着多种复杂因素,民俗活动中的各种仪式及歌舞表演,也为各种伎艺的交流与融合提供了有力支撑。当然,宋杂剧演出的真正市场,不是内廷,而是市井坊巷、勾栏瓦舍。文化市场的百伎竞盛,才是其生存的大环境。正是由于宋杂剧的生存面临着前所未有的机遇与挑战,才在艰难处境中争得"正色"的地位,顺利实现了中国戏曲发展机体上榫、卯的对接,成了向元杂剧过渡的重要环节。

In Song Dynasty, generally only sacred music could be ＂contributed for performance in Ancestral Temple and the Court＂ . Zaju opera was staged usually upon three great banquets in spring, autumn and holy festival to animate the occasions. It is notable that such a form of performance was also seen in folk activities of sacrifice fete. Development of the opera owes to various factors, and the ceremonies and musical and dancing performances in folk activities provide occasions for the actors to communicate and learn from each other. The real show place of Zaju in Song Dynasty is not in the Court but the market and venues. The cultural market competition offers environment for its existence. It is because of the unprecedented opportunity and challenge to its existence, Zaju of Song Dynasty acquired in adversity its ＂legal＂ status and formed the interconnection in Chinese opera history. It is a vital section for the transformation into Zaju of Yuan Dynasty.