《桃花扇》在容美土司的发展与嬗变

On the Evolution of Peach Blossom Fan in the Tujia Autonomous Region during the Reign of Chieftain Rongmei

孔尚任在《桃花扇》中"借离合之情,写兴亡之感"的思想与容美土司田舜年不谋而合,继而被其引进。为了迎合容美土民的审美意识和演唱习惯,戏剧家顾彩以《桃花扇》为蓝本重新撰写了一本《南桃花扇》,揉进了当地流传已久的柳子戏、南戏的部分唱腔及其他元素等,被顾彩自称为"巴曲"。改土归流后,此剧被禁演,却由此衍生出一个新的曲艺形式"长阳南曲"。孔尚任传授《桃花扇》,田舜年引进《桃花扇》,顾彩到容美移植《桃花扇》,这一切对容美戏剧整体水平的提高做出了巨大贡献,为土汉民族文化交流谱写了一曲动人的乐章。

Kong Shangren, a famous dramatist in Qing Dynasty, mourned the fall of a dynasty under the guise of a love sto- ry in the play Peach Blossom Fan, which caught the fancy of and was introduced into Rongmei by Tian Shunnian the local Chieftain . To cater for the aesthetic preferences and singing customs of the local people, dramatist Gu Cai wrote his South- ern Peach Blossom Fan, an adaptation from Kong＇s original which he called Baqu and in which he combined Liuzi Opera, some arias of the southern drama and other elements of performing arts. After the bureaucratization, this opera was banned, but not before creating the new form of Quyi Changyang Nanqu. From Kong Shangren＇s writing of the play to its introduc- tion by Tian Shunnian into Rongmei to Gu Cai＇s adaptation of it to the local customs--this evolutionary trajectory testifies to the contribution of the play in raising the overall dramatic level of Rongmei and thereby composing a moving chapter in the history of cultural exchange between the Han and Rongmei peoples.