明清以来苏州弹词“方卿羞姑”的传播

Transmission of Soochow Tanci “Fang Qing Abases his Aunt”since Ming and Qing Dynasty

"方卿羞姑"最初是苏州弹词《珍珠塔》中的情节,《珍珠塔》的故事被改编成其他样式的说唱文艺,"方卿羞姑"也有了很多变体,扬州弦词移植方卿的故事。清代后期,流行于长江下游地区的弹词、道情、宝卷、鼓词、说因果,都有《珍珠塔》曲目,故事大意不变。形成于清末民初的各地方戏,都演绎《珍珠塔》故事。"方卿唱道情羞姑"是故事的高潮,集中反映了普通民众改善生活境遇、渴望扬眉吐气的强烈心声,表达了他们对嫌贫爱富、为富不仁者的痛切愤慨。唱道情作为这一场次的精华部分,也随着"方卿羞姑"的不断重演而变得家喻户晓。"方卿羞姑"不仅在各类艺术舞台上经久不衰,还通过报刊、广播、唱片、电影广泛传播。"方卿羞姑"架起说唱与戏曲之间的桥梁,实现了两者的相互影响与良性互动。

＂ Fang Qing Abashes His Aunt＂ at first was the plot in Soochow Tanci ＂ Pearl Tower＂. Since the tale of ＂ Pearl Tower＂ was adapted in various ballad forms, ＂ Fang Qing Abashes His Aunt＂ had several versions. Yangzhou Xianci has also transplanted the tale of Fang Qing. That Fang Qing sings Dao Qing to abase his aunt is the climax of the tale, which collectively reflects a strong wish to reform the living atmosphere of popular people and express their angriness to people who despise the poor and curry favor with the rich and people who are rich and cruel. As the essential part of the opera, ＂ Fang Qing Abases his Aunt＂ not only is popular on vari- ous art stages, but also is spread through newspaper, broadcast, record, and film. ＂ Fang Qing Abases his Aunt＂ builds a bridge between talking and singing and opera, and actualizes a nice interaction between the two.