梅兰芳“旧曲新排”《狮吼记》探源

The Study of Mei Lanfang's The Roar of the Lion of Xiqu Pieces'New Compilation

上承内廷供奉渊,下开北昆新路的“京朝派”代表人物梅兰芳,1918年“旧曲新排”《梳妆》《游春》《跪池》与《三怕》四出串演的《狮吼记》,具有刻画柳氏刚健婀娜的人物情性、挑选技艺精湛的名家搭档,保留演员“双扮”的梨园惯例,从人物与表演等面向设计柳氏服饰等演出特色。当时报刊评论与广告多将《三怕》称为《梦怕》,通过对明文人传奇、明戏曲选本、清宫与民间戏本与曲本的梳理考察,发现乾隆年间“连四出昆腔”《清内府四色抄本狮吼记传奇》的《季常梦怕》,以陈慥“叹怕入梦”与“出梦悟怕”为前后外框,包裹传奇《闹祠》戏文,经由伶官当差、教习传艺或外班承应在宫廷与民间传播展演,形成《梦怕》与《三怕》各两种演出或演唱版本。

Mei Lanfang,the leading figure of Xiqu style in Bejing-dynasty School,whose Xiqu achievement had been inherited from Qing dynasty government and had created new style of Northern-Kunqu Opera.In 1918,The new compilation of Xiqu piecies-The Roar of the Lion,composed of pieces including 4 acts-Dressing Up,Spring Ercursion,Kneeling by the Pond,and Three Fears,featured a robust yet graceful female character of Liu,with-meticulously selected skilled artists as partners,adhering to the traditional practice of actors playing dual roles.The costumes for Liu and other characters were also intricately designed that showed distinctive features in terms of char-acter portrayal and performance.During that period,reviews and advertisements on newspapers often referred to Three Fears as Dream Fears.Through a comprchensive examination of literary works,Xiqu selections,Qing dynasty palace performances,and folk scripts and scores,this study reveals that during Qianlong emperor era,there existed a legendary piece titled The Roar of the Lion in the Four-Color Manuscript,in which one of its sections,titled Ji Chang's Dream Fears,featuring Chen Zao's expressions of"Fear in dreams"and"The understanding outside the dream"as the initial and final acts respectively,and embedded by"Disturbing the temple".The piece then had been propagated and performed by court officials,instructors,and traveling troupes,and finally developed into both imperial and folk versions-Three Fears and Dream Fears respectively.