唐五代敦煌说唱伎艺的戏剧化转向探考

Research on the dramatic transition of Dunhuang telling and singing art skills in the Tang and Five Dynasties

敦煌所见说唱类作品客观反映出唐五代时期民间说唱伎艺与戏剧艺术之间逐步转化的轨辙。唐五代戏剧的生成与发展并不仅仅止于敦煌写本中所载述的与戏剧相关各类演艺形态,联系其他相关文献中所见唐五代戏剧的表演场所、表演艺人史料,可以更加清晰、完整地见出这一时期的戏剧是综合的、立体的表演,而非简单的舞蹈、俳谐或弦索歌唱。唐代寺院演出的艺术品类同样显得复杂多样,而且各种艺术形式表演的场所尚处于混同阶段。从北魏开始到隋代,延及唐五代时期,在逐步摆脱随意性和流动性的表演场所中,戏剧艺术与说唱伎艺是混同表演的。唐代戏剧尚处于中国古代戏剧的形成期,其整体构成显得较为简单,在具体表演过程中多采用"小戏"形式。在戏剧的表演与演员的形成方面,唐五代说唱艺人对同时期戏剧的影响同样显得格外明显。

The telling and singing manuscripts unearthed in Dunhuang reflect the track of the gradual transition from the folk skills to the drama arts in the Tangand Five Dynasties. The generating？ and？ development of the drama performances in the Tangand Five Dynasties is not just found in the Dunhuang manuscripts, and more comprehensive and dimensional performances can be found, according to the playing？ arenas and the actor information existed in other histor- ical data in this period. On the one hand, the art forms pecformed in the temple of the Tang Dy- nasty appear complicated and various, on the other hand, the playing？ arenas of these per- formances were in a state of confusion. Starting from the Bei Wei Dynasty to the Sui Dynasty, till the Tangand Five Dynasties, the drama arts and the telling and singing skills were per- formed in a confused state in the playing arenas which gradually get rid of the randomness and the mobility. The drama of the Tang Dynasty is still in its formative period, and its overall structure is relatively simple, so it was often shown with the folk small dramas in the concrete process. In terms of the drama performance and the actor formation, the talking and singing artists in the Tangand Five Dynasties have particularly obvious influence on the contemporary dramas.