清代西游戏的场上传播--以“盘丝洞”故事为例

The On-field Spread of the His-yu Drama in the Qing Dynasty--A Case Study of the"Pansidong"Story

后百回本时代,“西游戏”在吸收原著“场上适用性”成分的同时,结合戏曲自身的艺术传统和表现成规来重述和再造故事,使之呈现出一定的独异性。清代“盘丝洞”故事就是典型一例。相较而言,梅巧玲先生在戏曲《盘丝洞》的创作和演出上更胜一筹,他不仅创新舞台艺术,而且个人舞台条件优越。以往研究中将戏曲《盘丝洞》归入百回本影响的看法,以及忽视梅巧玲在戏曲《盘丝洞》发展过程中的重要作用,都是有失偏颇的。

In the era of the post-100-chapter version,while absorbing the"stage applicability"of the original work,"His-yu drama"retells and reconstructs the story in combination with its own artistic tradition and performance rules,making it unique to some extent.The"Pansidong"story in the Qing Dynasty is one typical example.In comparison,Mr.Mei Qiaoling is better than others in the creation and performance of the opera"Pansidong"story,who not only innovates the stage art,but also demonstrates excellent personal conditions.In previous studies,it is biased that the"His-yu drama"was classified as a product of the influence of the 100-chapter version and Mei Qiaoling′s important role was neglected in the development of the opera Pansidong.