《审音鉴古录》中的昆剧舞台艺术论

发布时间：2018-02-24 18:23

本文关键词： 《审音鉴古录》昆剧舞台艺术　出处：《南京大学》2012年硕士论文　论文类型：学位论文

【摘要】：昆剧发展到清代,折子戏的表演模式逐渐形成,演出的精简为艺人演技的提高提供了契机。当表演的体制和内容趋于定型,记录表演的身段谱开始登上了历史舞台。身段谱注有砌末、穿戴服饰、身段、表情、舞台调度、锣经,为昔时艺人自备或授艺所用。目前可知的著名的身段谱主要有藏于上海图书馆的《昆曲身段谱》甲乙两编共十五册,和清代昆剧身宫谱选集《审音鉴古录》。而《审音鉴古录》是目前唯一出版的身宫谱选集。《审音鉴古录》收录了昆曲折子戏六十六出(实为六十五出),其中《琵琶记》十六出、《荆钗记》八出、《红梨记》六出、《儿孙福》四出、《长生殿》六出、《牡丹亭》十出(《堆花》一出有目无文,实为九出)、《西厢记》六出、《鸣凤记》四出、《铁冠图》六出。据考证,该书当成书于1782年之前,现流行的《审音鉴古录》为道光十四年东乡王继善补定的原刊本,王秋桂主编《善本戏曲丛刊》,北京学苑出版社都是以此本影印出版,书中有琴隐翁序,称此书是王继善从京师“辗转购得原版,携归江南”,稍加补订刊印的。《审音鉴古录》与其他昆剧选本最大的不同就在于它对人物的穿关、砌末,演员的唱念表演和场面调度都做了详细的提示。笔者认为它是一本“昆剧舞台艺术的教科书”,起着匡正时弊的作用。书中折射出作者的昆剧舞台艺术观,而其中蕴含的舞台艺术理论对现代的昆剧艺术也有一定的借鉴作用。对此,笔者分穿关砌末艺术论,演员表演艺术论和场面调度艺术论三个部分进行详细阐述。第一部分,笔者将文本中记载的演员穿关、舞台砌末与明代生活服饰,当时舞台上流行的某些穿戴、砌末进行对比,概括出穿关、砌末当与人物、剧情相统一,穿戴色彩追求整体和谐,穿关砌末务求简约的舞台原则。第二部分论述了舞台艺术的根本,即演员的表演艺术。演员的唱念身段必须有法可依,这所依之法分别为表演有程式、唱做合一、务求圆曲。而在人物塑造上当以表现人物神韵为最高标准,包括对人物基调的把握、对生活真实的遵循、对人物情绪的体现。第三部分为舞台调度艺术论,笔者从场上配合、空间调度和情节调度三方面来论述作者在书中暗含的舞台调度理论。
[Abstract]:With the development of Kunqu Opera into the Qing Dynasty, the performance mode of the Xianzi Opera was gradually formed, and the streamlining of the performance provided an opportunity for the improvement of the entertainers' acting skills. When the system and content of the performance tended to be finalized, The record of the performance began to appear on the historical stage. It was marked with masonry, wearing clothes, body parts, expressions, stage scheduling, gongs, gongs, gongs, gongs, gongs, gongs, gongs, gongs, and gongs. At present, the most famous genealogies are 15 volumes of "Kunqu Opera", a and B, which are collected in Shanghai Library. It is the only selected collection of body music of Kunqu Opera in Qing Dynasty, and it is the only one published at present. The book includes 66 pieces of Kun Opera (65 of them), of which 16 are from the Book of Pipa, eight from Jing Chai, six from Red Pear, four from Children and grandchildren, six from the Palace of Everlife, and six from Peony Pavilion. Ten (heaps of flowers) one has no object and no text, In fact, there are nine out of the box, six out of the West Chamber, four out of the Ming Feng Ji, and six out of the Iron Crown. According to textual research, the book became a book before 1782, and the current popular book "reviewing and judging the Ancient Records" is the original edition of Tao Guang's 14-year Dongxiang Wang Jishanbuding. Wang Qiu-gui 's editor-in-chief of the "Shan-Ben Opera Series", which is published by Beijing Xueyuan Publishing House, has Qin Yinweng preface, saying that this book is the original version that Wang Jishan bought from the Peking teacher. Take it back to the South of the Yangtze River, "slightly supplemented and published." the biggest difference between the selected books of reviewing Yin and Jian Gu and those of other Kun Opera operas lies in the fact that they wear customs and masonry to the characters. The actor's singing and reading performance and scene scheduling are all given a detailed hint. The author thinks that it is a textbook for the stage art of Kunqu Opera, which plays a role in correcting the shortcomings of the stage. The book reflects the author's view of the stage art of the Kunju Opera. And the theory of stage art contains some reference to the modern Kunqu Opera art. In this regard, the author divided into three parts, namely, the theory of the art of passing through the customs, the theory of the performing art of the actors and the theory of the art of scene scheduling. The first part, the author put the actors through the customs, the stage masonry and the life dress of the Ming Dynasty, which are recorded in the text. At that time, some of the popular costumes and masonry were compared on the stage, and summarized that the wear, masonry and characters should be unified with the plot, and wear colors to pursue overall harmony. The second part discusses the fundamental of stage art, that is, the performing art of actors. Actors must have laws to follow in their singing and reading. The highest standard is to show the charm of the characters, including grasping the tone of the characters, following the reality of life, and embodying the emotions of the characters. The third part is the art theory of stage scheduling, the author cooperates with each other from the field. Space scheduling and plot scheduling are discussed in this paper.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J825

【参考文献】