摘要
1967年成化本《新编刘知远还乡白兔记》的发现,为我们提供了不可多得的明代嘉靖前传奇脚本,然而40多年过去,其声腔剧种属性至今尚未厘清。剧本声腔属性不明,戏曲史研究就会一直困守在戏曲文学研究的小天地里而不能进入有别于诗文研究的场上之曲研究的曲学之门,也就不可能进行真正意义上的中国戏曲史研究,所以解决剧本的声腔属性意义尤为重要。根据剧本实际,文中认为成化本《白兔记》是成化年间越乐班用北部吴语方言演唱的海盐腔传奇脚本,原著作者是永嘉书会才人,改编者是包括越乐班戏子在内的北部吴语地区民间艺人群体,出版者是成化年间书林永顺堂。
The discovery of Chenghua -version of Newly Edited Liu Zhiyuan Returns to Hometown in 1967 provided us the legend script before Jiajing period in Ming dynasty. However, after 40 years, scholars still have no idea of its op- era genre or its tone. This will trap opera history study in a little world. And there is no possibility for us to do the study of traditional Chinese opera from a true sense. So, it is the most important thing to solve the problem of the tone. According to the actual situation of script, we state that Chenghua - version Baitu ji is a legend script performed by Yue music troupe in Haiyan tone and sung in the Wu dialect in Chenghua period. The author is a gifted youth of Yongjia Book Club, and the adapter is a folk artist group including actors of Yue music troup in northern Wu dialect region, and the publisher is Yongshun Tang in Chennghua period.
出处
《艺术百家》
CSSCI
北大核心
2014年第5期152-159,共8页
Hundred Schools In Arts
基金
2011年度福建省社会科学规划项目"明代传奇声腔归属考"(项目编号:2011B164)阶段性成果之一
