论文人家乐文化在清代宫廷戏曲中的呈现

Image of Domestic Opera Culture in Palace Opera in the Qing Dynasty

宫廷戏曲与文人家乐是明清时期分属不同阶层的两种戏曲类型。但它们具有共通之处,例如私人所有性、艺术专业性、私家娱乐性。清代宫廷戏曲中帽儿排、花唱等灵活多样的临时演出形式,继承了文人家乐对清曲的重视;宴戏作为宫廷戏曲的又一形式,发展了文人家乐依托于家庭生活需求的演出安排;帝王对宫廷戏曲的指导则蕴含着文人趣味。这一传承过程中,不变的是雅文化话语体系对戏曲的主导,从中可以看到文人文化对于宫廷文化的影响。

Palace opera and domestic opera are two separate types of the traditional Chinese opera in the Ming and Qing dynasties.However,they have some drama elements in common,such as private property,arts professionalism and family enterainment.Palace opera’s mao’er pai and hua chang inherit the concentration of domestic opera on Qingqu.Palace opera’s Yanxi develops domestic opera’s basic function.Imperial instructions to palace opera are similar to intellectual instrucions to domestic opera.During the process of this cultural succession,the elegant culture is invariably praised and advocated.