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| 文章编号：1672-3104(2020)02-0166-08 |
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乾嘉以来折子戏《惊鸿记·吟诗脱靴》的舞台演变 |
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徐瑞 |
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（广东财经大学公共管理学院，广东广州，510320） |
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| 摘 要： 《缀白裘》选本中的《吟诗脱靴》对《惊鸿记》原剧进行了大幅度的改动，加强了剧本的戏剧性，奠定了《吟诗脱靴》舞台演出本的形式。此剧乾隆年间的身段谱将李白改为大官生来扮演，并进一步强化了戏剧冲突。道光年间的身段谱将唐明皇改为老生扮演，对唱念方面有所增删，使得演出文本最终定型。乾隆身段谱中的表演已基本成熟，道光身段谱更注意情感表现的层次性、动作的贴切性，身段动作分类较为细致。当代此剧的演出更重视表演的观赏性和舞美的精美。这一个案说明昆剧史上的乾嘉传统仅提供了一个基本的演出框架和美学规范，因受到时代审美观念的影响，表演、舞美会在继承传统的基础上进一步发展。 |
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| 关键词： 《吟诗脱靴》；身段谱；舞台演变 |
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Stage evolution of Yin Shi and Tuo Xue from Jinghong Ji since Qian Long and Jia Qing |
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XU Rui |
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（School of Public Administration, Guangdong University of Finance and Economics, Guangzhou 510320, China） |
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| Abstract: Yin Shi and Tuo Xue selected from Zhui Bai Qiu has greatly changed the original play, strengthened the dramatic quality of the script Jinghong Ji, and laid the foundation for the form of the stage performance of Yin Shi and Tuo Xue. The body action spectrum in Qianlong period changed Li Bai’s role into Zheng Sheng, which further intensified the dramatic contradiction. The Daoguang body action spectrum changed the Ming Emperor to the Lao Sheng, and emended the singing and speaking, which made the text finalized. The performances in Qianlong's body action spectrum were basically mature, while Daoguang text paid more attention to the level of emotional performance and the relevance of movements. And contemporary performance of the play puts most stress on spectacular performance and exquisite stage design. This case also explains that the “Qian Jia Tradition” in the history of Kun Opera only provides a basic performance framework and aesthetic norms, and that on the basis of inheriting the tradition, it has further developed in performance and stage design because it is influenced by artists and the aesthetic concepts of the times. |
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Key words: Yin Shi and Tuo Xue; body action spectrum; stage evolution |
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