| 《牡丹亭》台本《道场》和《魂游》的探究 |
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| 引用本文： | 吴新雷. 《牡丹亭》台本《道场》和《魂游》的探究[J]. 东南大学学报(哲学社会科学版), 2012, 0(1): 87-92,125 |
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| 作者姓名： | 吴新雷 |
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| 作者单位： | 南京大学文学院 |
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| 摘 要： | 《道场》和《魂游》的台本见于晚清艺人殷溎深传承的《牡丹亭曲谱》中,这是清代昆班艺人二度创作的产物。艺人将《魂游》原作一分为二,《道场》开头仍用《魂游》原作前三曲的唱段和科白,然后增加了演列梅花观道姑们为超度杜丽娘亡灵而大做道场的仪式。而原作[水红花]至[尾声]一套,仍保留《魂游》的折目,艺人参照《吟香堂》和《纳书楹》曲谱的格律,把原作[醉归迟]分为[五韵美]和[黑麻令]二曲,对科白也作了适当的调度。本文探讨了台本《道场》和《魂游》的舞台形态及其特征,并论及《魂游》的曲本演变和主题思想。
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| 关 键 词： | 台本 艺人俗增 二度创作 舞台形态 |
The two playscripts of Peony Pavilion |
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| WU Xin-lei. The two playscripts of Peony Pavilion[J]. Journal of Southeast University(Philosophy and Social Science ), 2012, 0(1): 87-92,125 |
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| Authors: | WU Xin-lei |
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| Abstract: | After the adaptation of Peony Pavilion,two more playscripts were written to make it more suitable for stage performance of Kunqu opera,i.e.Duihua and Daochang.Duihua,as a part of the 10th act,is well-received even today.On the contrary,Daochang,as a part of Hunyou,the 27th act,has long been abandoned for its strong religious inclination.The history of Daochang and Hunyou can be traced back to the Melody to the Peony Pavilion written by Yin Guishen,an artist in late Qing Dynasty.This paper discusses the characteristics of Daochang and Hunyou as well as the evolution of different versions and their themes. |
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