明代戏曲声腔流变管窥——以明代折子戏选本为视角

A Glimpse of the Rheology of Ming Dynasty Opera Tune——From the Perspective of the Ming Dynasty Zhezi Opera

明代折子戏选本为研究明代戏曲声腔的变化提供了一个角度。明代戏曲的南北曲之争,明代南曲各声腔的兴衰起落,都可以由此得以发现或证实。从明代折子戏选本的情况来看,万历前的舞台以北曲为主,万历中,南曲兴盛,而北曲则吸收了民间小调的特色,以弦索腔的形式流传下来。明代南曲各腔也经历了一个此消彼长的过程。嘉靖间,弋阳腔、海盐腔首先兴起,继之以青阳腔、徽州腔,而备受文人推崇的昆腔则在万历后才盛行一时。

The anthologies of the Ming Dynasty zhezi opera provides another angle for the study of the change of Ming Dynasty opera tune. The fight of Nanqu and Beiqu during the Ming Dynasty, the rise and fall of each tune of the Ming Nanqu, can thus be discovered or confirmed. From the anthologies of the Ming Dynasty zhezi opera, it is Beiqu that actors mainly played on stage before Wanli period of Ming Dynasty. Nanqu thrived in Wanli , while Beiqu absorbed the characteristics of many folk songs and handed down in the form of Xiansuoqiang . Each tune of Ming Nanqu has also experienced a shift in the process. In Jiajing period of Ming Dynasty, Yiyangqiang and Haiy- anqiang first rose, followed by Qingyangqiang and Huizhouqiang. The Kunqiang which was highly respected by scholars prevailed for a time only after Wanli.