南戏中生旦脚色核心地位的深度考察

A Deep Study on the Core Position of the role of Sheng (Male Role) and Dan (Female Role) in Local Operas of South China

生、旦脚色在南戏脚色体制中居于核心地位,早已成为学界共识,却从未有人核实过这一结论的可靠性。根据对现存十种保存南戏原貌较好的早期南戏剧本的考察,生、旦两种脚色在南戏中确实居于核心地位。从演唱曲牌的情况来看,南戏中生、旦标注的角色均为剧中主唱脚色,所唱曲牌数量最多;从扮演角色的情况来看,南戏中生、旦不兼演其他角色,仅仅只扮演剧中的男女主角;从脚色形成和发展的规律来看,南戏中的生、旦不仅与净、末、丑等脚色相对独立,与外、贴等脚色也是相对独立的。

The roles of Sheng(the male protagonist)and Dan(the female protagonist)occupy a core position in the role system of local operas in South China,which has long been a consensus in the academic community.However,the reliability of this conclusion has never been verified.Based on our investigation of the ten existing early scripts of local operas in South China that have been preserved in their original forms,the roles of Sheng and Dan do occupy a core position.Firstly,from the perspective of singing Qupai(fixed tunes),the roles annotated by Sheng and Dan in local operas of South China all take the lead vocals in the opera,with the highest number of Qupai;Secondly,from the perspective of role-playing,Sheng and Dan do not concurrently play other roles,but only play the male and female protagonists in the opera;Thirdly,from the perspective of the formation and development of characters,Sheng and Dan are not only relatively independent of characters such as Jing(the male role with painted pace),Mo(the minor male role),and Chou(clown),but also relatively independent of characters such as Wai(the role of the elderly male or female)and Tie(the role of the elderly female or the minor female role).