再议“潮泉腔”与宋元戏文的传播——从饶宗颐、龙彼得戏文研究说起

Research on Chao-quan Tune and Extension of Dramas in Song and Yuan Dynasties: From Libretto Study of Rao Zongyi and Long Bide

以饶宗颐、龙彼得二人之戏文研究为起点,重议"潮泉腔"是否成立、何时成立之问题,并据此追溯宋元戏文在泉、潮两地的传播历程。在饶、龙地方戏文研究争议点的基础上,进一步探讨"潮泉腔"的真伪问题,并涉及宋元戏文在潮、泉的传播方式与路径。认为,历史上是否形成过独立声腔——"潮泉腔"值得商榷,即使出现也不应早于清代初期。宋元戏文在潮、泉两地的传播曾有多样化的路径,在相似的文化环境中产生汇流,后在外来剧种的强势影响下再次分流,最终形成两大剧种。

Starting with drama study of Rao Zongyi and Long Bide, this article is designed to reconsider the problem about when and how the Chao-quan Tune was originated. Furthermore, the history about extension of dramas in Song and Yuan Dynasties in Quanzhou and Chaazhou can be retrospected. The differences of drama study from Rao Zongyi and Long Bide can he viewed as a breakthrough to reconsider whether the naming of Chao-quan Tune is right and how the dramas spread abroad in Chaozhou and Quanzhou. As a conclusion, the naming of Chao-quan Tune may be not right, or will not come out until the Qing Dynasty. There used to be various ways of extension of dramas in Chaozhou and Quanzhou, which mixed into one in similar culture circumstances and separated again into two by great influence of foreign operas finally.