情节关捩之内应性与程式动作的搬演域--从三本《滑油山》看清末民初折子戏的流传路向

The Intrinsic Nature of Plot and the Field of Stylized Movements:Research on the Transmission Direction of the Highlights from the Opera Huayoushan in the Late Qing Dynasty and the Early Republic of China Based on Three Versions of the Opera

《滑油山》皮黄唱本存在三个文本系统,清车王府藏本、日本东京大学双红堂文库藏泰山堂本与早稻田大学图书馆藏宝文堂本。考察"见-求-过"的关目设置,比照出三个文本情节关捩的内应性;通过对科、唱、白共同构建的程式动作搬演的还原,拓展出折子戏《滑油山》在清宫与民间的时空场域转换中生成的流传路向。这有助于我们从一个特定剧目的摘出延展,由内而外地认知从清宫连台本戏到折子戏的发展面貌。

There are three textual systems of the Peking Opera Huayoushan, namely, the Version collected in Qing Chewang Royal prince palace, the Taishantang Version collected in the Shuanghongtang Library in University of Tokoyo and Baowentang Version＂ collected in Waseda University Library. By examining the ＂see - seek- off＂ pattern of plot, we compare the intrinsic nature of the plot of the opera; and through the recon- struction of the stylized movements which are collectively constituted by action, singing and monologue, we explore the transmission direction of the highlights from the opera Huayoushan in Qing palace and among the common people. Through the selecting and expanding of such one particular opera, it helps us recognize development that Qing palace operas form serialized theatrical performance into highlights from operas.