元杂剧“一人独唱”与水神庙元代戏剧壁画新解

The “Solo” in Zaju in Yuan Dynasty and the Mural Paintings in the Temples of the God of River in Yuan Dynasty

金元杂剧的演唱体制,前辈学者多有论及,但较少结合元刊本、金元杂剧的实际生存状况和相关文物资料进行探讨,因此众说纷纭,莫衷一是。从《元刊杂剧三十种》来看,金元杂剧的演唱体制明确为"一项角色独唱",并透露出"一人独唱"的痕迹。从当时演出团体的规模、演员构成和经营管理来看,金元杂剧为名角"挑班","一人独唱"。洪洞水神庙元代戏剧壁画鲜活地呈现出金元杂剧演出的整体风貌,"尧都见爱"明确指出该演出团体的活动区域与艺术水准,也透露出所言内容为金元杂剧,而非"搬演词话"。"忠都秀"则明确指出当时"名角"挑班的经营方式。

In contemporary scholarship there are many discussions on the singing patterns in the Zaju of the Jin and Yuan Dynasties, but not a sufficient number on their relation with the situations of the Yuan-edition plays and the Zaju in Jin and Yuan Dynasties, as well as relevant historic relics and texts. Therefore, scholars have not come to any agreements in that area of study. The Yuan Edition of Thirty Zaju makes it clear that the singing pattern of the Zaju in Jin and Yuan Dynasties is ＂sung by a character＂ which indicates ＂solos＂. From the size of the troupes, the composition of the actors and the management, we know that the Zaju in Jin and Yuan Dynasties ＂starred a leading singer＂ and had ＂solos＂. The mural paintings in the temple of the river god in Hongtong are vivid presentations of the performance of the Zaju in Jin and Yuan Dynasties. The inscription of ＂popular in Yaodu＂ shows the exact location and the artistic accomplishment, and suggests that they were acting the Zaju in Jin and Yuan Dynasties instead of ＂performing Cihua＂. The inscription of ＂Zhongduxiu＂ also points out that the management of troupe was centered on a leading star.