戏曲史上的花、雅问题述评

在中国戏曲史上,花、雅是一对重要命题。在清人那里,关于花和雅的区别,主要有三种意见:戏曲脚色之别、戏曲声腔之别和戏班之别,而笔者以为花和雅的区分乃在于声腔的不同。花、雅的问题在近、现代人那里也引起了广泛的注意,主要集中在关于花、雅的概念,花、雅的内容与形式,花、雅兴衰的时间等方面,笔者以为花、雅的概念之别仍在于其声腔的有别,内容与形式并不能作为区分花、雅的依据,花部取代雅部的主导地位是在清末,而非清中叶。

A Review on the Issues of Attractiveness and Grace in History of Opera

The proposition of attractiveness and grace is important in the history of Chinese opera. In Qing Dynasty, there were three major opinions on the difference between attractiveness and grace, i.e., between roles, in opera, between troups. The author holds that the distinction lies at the difference of melodies. This issue has aroused a wide attention among modern people, focusing on the aspects of the conception, the content and form, the time of rise and fall of attractiveness and grace. The author takes that the difference of conception between attractiveness and grace is still the one between their melodies, while content and form could not be an evidence for distinguishing these conceptions. That attractiveness took the mainline status in substitution of grace happened in the end, instead of the middle period, of Qing Dynasty.