“戏头”述考

On"Xi Tou"

综观文献记载和相关研究成果,"戏头"的含义主要分为四个方面:从戏曲文物角度出发,"戏头"是面具的一种;从脚色制角度出发,"戏头"与生、末泥存在关联;从戏曲与舞蹈关系探究,"戏头"可能是宫廷歌舞中"舞头"的遗响;从演出实际来看,"戏头"的职能与戏班班主相同。"末泥"职能有二,一是体现在台下,即组织戏曲演出;二是体现在台上,参与戏曲演出。宋金时期"末泥"或许并非是一个很重要的脚色,它的职能更侧重于台下,因此原本属于不同概念的"戏头"与"末泥",在演出实际中由于"末泥"承担起"戏头"的职能而被人们所等同起来。

Based on literature records and relevant research results,the meaning of"Xi Tou"can be divided into four aspects:from the perspective of traditional Chinese opera relics,"Xi Tou"is a kind of mask;From the point of view of role system,"Xi Tou"is related to"Sheng"and"Mo Ni".From the study of the relationship between opera and dance,"Xi Tou"may be the legacy of"Wu Tou"in palace songs and dances;From the point of view of the actual performance,the function of the"Xi Tou"is the same as that of the head of the theatrical troupe.There are two functions of"Mo ni",one is reflected in the offstage,namely the organization of opera performance;The other is reflected in on the stage,participating in the opera performance.During the Song and Jin dynasties,"Mo Ni"was probably not a very important role,its function was more focused on the organization of opera performance.Therefore,the concept of"Xi Tou"and"Mo Ni",which originally belong to different concepts,are equated by people because the"Mo Ni"assumes the performance function of the"Xi Tou"in the actual performance.