从“由俗入雅”到“雅俗共赏”——清宫演剧盛况下的京剧生存空间刍议

The Birth and Development of Beijing Opera from Folk Tune to Court Opera Suiting Both Refined and Popular Tastes

从明代后期开始进入宫廷的昆曲,更早一些的弋阳腔,以及清代道光年间逐步成熟的皮簧,也就是后来的京剧,共同构成了清宫演剧内容的主体。1790年,乾隆八旬万寿,徽班进京,自此大量立足民间蓬勃发展的声腔剧种开始在北京落地生根,并且迅速以极高的艺术活力占据市场。清代中后期,花部中的皮簧腔则在保持了民间活力的同时,大量吸收了昆曲和弋腔的营养,迎合当权者审美的趣味而得以进入宫廷,迅速成为了"上通天庭"、"下接地气",贯通于精英阶层和底层民众的堂皇剧种。本文尝试描摹盛况空前的清宫演剧情境下,京剧艺术是如何被催生的,以及清宫京剧精致化、规范化、高贵化的特点。

The Qing court opera mainly consists of Kunqu opera that entered the imperial palace in the late Ming dynasty,Yiyang tune that came out earlier and Pihuang tune(later renamed Beijing Opera)that got to become mature by Emperor Daoguang's(道光) period.In 1790 the opera troupe was called to Beijing from Anhui Prefecture for celebrating Emperor Qianlong's(乾隆) 80^(th) birthday,followed by many other forms of folk drama which quickly blossomed in Beijing together.Pihuang was much popularized among the ordinary people as one tune out of Huabu which is the general name for any other local folk tunes except Kunqu,but it took in the essence from both Kunqu opera and Yiqiang tune to be successful in climbing the stage of the imperial court to become a royal drama popular among the upper and lower classes for its characteristics of both elegance and vulgarity.