《磨尘鉴》《新编磨尘鉴》《醉杨妃》与梅兰芳版《贵妃醉酒》辨析

A Distinction between MEI Lanfang’s Version of Gui-fei-zui-jiu( The Drunken Beauty) and Mo-chen-jian,The Newly-compiled Mo-chen-jian and Zui-yang-fei( The Drunken Beauty)

明末金阊逸士钮少雅的传奇《磨尘鉴》,桃渡学者的《新编磨尘鉴》,清乾隆叶堂编订《纳书楹补遗曲谱》收录的《醉杨妃》是京剧《贵妃醉酒》剧本文学的重要来源。京剧表演艺术家梅兰芳在1914年学习《贵妃醉酒》,在其后的四十余年间他不断对《贵妃醉酒》的文学和表演进行加工改良,使梅版《贵妃醉酒》历经百年成为中国戏曲的经典剧目。文章探讨《磨尘鉴》《新编磨尘鉴》《醉杨妃》和梅版《贵妃醉酒》的流变过程与梅兰芳的文学艺术改良观的融合,表明剧本的成熟与发展对艺术家的成长、剧目经典化的锤炼及对中国传统文化的积淀具有重要意义。

The Peking Opera Gui-fei-zui-jiu (The Drunken Beauty) are mainly based on a romance Mo-chen-jian written by NIU Shaoya and The Newly-compiled Mo-chen-jian by WANG Huixia in the late Ming Dynasty, and Zui-yang-fei (The Drunken Beauty) compiled by YE Tang in Qing Dynasty. MEI Lanfang, a performing artist of Peking Opera starting to learn Gui-fei-zui-jiu (The Drunken Beauty) spent more than 40 years in his later life constantly improved the literature and performance of The Drunken Beauty that made his version of The Drunken Beauty a classic of Peking opera that has been lasting for 100 years. This essay explores the evolution of MEI’s The Drunken Beauty and his integration of literary and artistic improvement to illustrate the maturity and development of scripts are of great significance to the growth of artists, the refinement of classical plays and the accumulation of Chinese traditional culture.