同治光绪年间清宫演戏宫外观众考——以《翁同龢日记》为线索

A Study on the Outside-Palace Viewers of Royal Traditional Opera Performance During the Reign of Emperors Tongzhi and Guangxv:On the Basis of Weng Tonghe’s Diary

清代宫廷戏曲的受众,主要是居住在宫廷的特定人群——帝后妃嫔,却不局限在这一范围,而是因时因地不同或多或少包括了皇族成员、朝廷重臣、外国使节等等。这些宫外人员成为清宫演戏的观众,是因为帝后"赏听戏"。翁同龢在清末长期身居枢要,经常获得"赏听戏"的殊荣。翁同龢在日记中对于亲历的宫廷演戏作了详细记载,历时三十余年。更为难得的是,翁同龢重在记述赏戏人员、礼仪方面,再现了清宫演戏的场景。以《翁同龢日记》为线索,探究清宫演戏的观众人员成分,对于清代戏曲史的研究有相当意义。

The viewers of royal traditional opera performance in the Qing Dynasty included not only the emperor, the queen and the imperial concubines who lived inside the palace, but also other royal family members, cabinet ministers and foreign envoys at different times on different occasions. The reason why those people who lived outside the palace could have the privilege to be viewers was that the emperor or the queen ＂gave them the opportunity to watch royal performance as a reward＂. Weng Tonghe occupied important positions in the imperial court for a long time in the late Qing Dynasty, and often received ＂the award to watch royal performance＂. In his diary, he provided a detailed record about the royal traditional opera performance through his over thirty years＇ personal experiences. Those records are invaluable because they described the viewers, and the ceremonies and etiquettes of royal performance, which enable scholars to recreate the scenes of royal traditional opera performance. Therefore, the study on the viewers of the royal performance on the basis of Weng Tonghe＇ s Diary is of great significance to the studv of the history of traditional opera in the Qing Dynasty.