由全本戏到折子戏——《荆钗记》标目研究

From Full-length Play to Zhezi Opera:Headings of Jingchai Ji

折子戏是南戏传奇形态戏剧中的一折或数折,是相对于全本戏的概念。《荆钗记》的版本众多,对其全本戏与曲选进行梳理,可以看出从万历后期到明末,《荆钗记》逐渐有了从四字标目到二字标目转化的趋势;对比全本戏代表《六十种曲》与折子戏集大成者《缀白裘》中《荆钗记》的标目,标目不变是因为戏点未变,标目改变除了戏点的变化之外,还或出自于舞台本演出追求和结局不同的原因;针对标目《舟会》与《团圆》的不同,对两大结局版本做进一步思考,认为《团圆》在戏点、人物和观众心理方面更加适应舞台演出。

Zhezi opera(selected scene)is one or several scenes in the legendary form of the Southern opera.Compared with the full-length play,Jingchai Ji,as the head of the four major Southern operas,has played animportant role in the history of the entire development of Chinese drama and has been passed down to the present day.There are many versions of Jingchai Ji. From the late Wanli period to the end of Ming Dynasty,it can be seen thatJingchai Ji gradually had a trend of transformation from four-character headings to two-characters heading. By furthercomparing the headings of Jingchai Ji,representative of Sixty Kinds of Songs in the full-length play,with White Fur,the major winner of Zhezi Operas,we can find that the headings remain unchanged because the point of the play doesnot change. Besides the change of the point of the play,the change of the headings may also be due to the differentpursuits and different endings. Finally,according to the different endings of Zhou Hui and Tuan Yuan,it holds thatTuan Yuan is more suitable for stage performance in terms of drama points,characters and audience psychology.