“京师尚楚调”的回溯与反思

Retrospection and Reflection on the “Popularity of Chu Opera Tune in Beijing”

清乾隆时在北京活动的楚调,可能已包含皮黄;嘉道以后又有更多湖北艺人进入北京,所唱“楚调新声”主要为皮黄。从后人一些记述看,楚(汉)调皮黄、徽调皮黄和京调皮黄的区分主要是在语音,但余三胜等楚(汉)调艺人所唱皮黄主要是以唱腔的新颖动听取胜,而不是靠原先的“地方特色”。楚调进京并与徽调、京调相交融,包含了对地区界限的跨越和对曲腔种类界限的跨越,这样的发展路径与近数十年来固守“剧种”界限的做法不大吻合,值得研究。

The spread of Chu Opera Tune into Beijing and its fusion with Anhui Opera Tune and Beijing Opera Tune involve crossing regional boundaries and the boundaries between tune genres,which differs from the practice of clinging to“opera genre”boundaries that have been prevalent in recent decades.