清代内廷弋腔戏演出研究

发布时间：2018-06-07 07:23

本文选题：弋腔戏 + 清代内廷　；参考：《四川戏剧》2014年09期

【摘要】：从奏折、谕旨及档案等可管窥清宫内廷各个时期弋腔剧目的演出状况。清代二百六十八年,内廷一直有弋腔戏上演,并且曾有弋腔女戏班演出。同时,清初进入内廷的弋腔戏逐渐向雅化方面发展,与在民间的演出相比,已有较大变化。以康熙为代表的上层人士认为,弋腔属于雅部,而非花部。清代后期的直隶京师,昆班演员都"能昆能弋","昆弋不挡",并可临时根据需要而改唱,由此亦见弋腔在北京的普及与影响。
[Abstract]:From the notes, oracles and archives, we can see the performance of the opera of the Qing court in every period. In the Qing Dynasty 268 years, the court has been playing the opera, and there were opera troupes. At the same time, in the early Qing Dynasty, the Yichang Opera which entered the Neiting gradually developed to elegance, compared with the folk performance, it has changed a lot. Kangxi as a representative of the upper personage that the cruise chamber belongs to the elegant, not the flower part. The late Qing Dynasty Zhili capital division, Kun Pan actors "can Kun Neng", "Kun can not block", and can temporarily change according to the needs of singing, thus also see the popularity and influence of the cruising cavity in Beijing.
【作者单位】：中国艺术研究院;梅兰芳纪念馆;
【分类号】：J809.2

【共引文献】